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CORNELL 
UNIVERSITY 




COLLEGE OF 

ARCHITECTURE 

LIBRARY 



Cornell University Library 
Z 266.M69 



Modern book-bindings & their designers 




3 1924 020 571 497 




The original of this book is in 
the Cornell University Library. 

There are no known copyright restrictions in 
the United States on the use of the text. 



http://www.archive.org/details/cu31924020571497 



noDEQn 

BGDKBinDirCS 

& THEIQ DESlOnEQS 




winrno humbcq or 

TnC STUDIO 

I 

i899fi900 



INTCRNATI0NAL:STUDIOOrriCES 
NEW YORK AND LONDON 



ZAEHNSDORF, Bookbinder, 

CAMBRIDGE W0RK5, 
144=146 Shaftesbury Avenue, London, W.C. 

(For Fifty Tears at Catherine Street, Strana.) 




Artistic Bindings. 



BOOKS BOUND IN 



Vebet, Sil^^ or Worl^d 3\daterial 



Library Bindings in Cloth^ Half Calf, or Half Morocco. 



Medals.— DUBLIN, 1865. 



PARIS, 1867. 



VIENNA, 1873. 



CHICAGO, 189; 



GEORGE ALLEN'S NEW BOOKS 



NEW EDITIONS OF RUSKIN'S WORKS. 
PR^TERITA. 

Outlines of Scenes and Thoughts perhaps Worthy of 
Memory in my Past Life. 

Crown 8vo, cloth, gilt top, Js. each net ; roan gilt, ys. 6d. each net. 

Volume I. — Consisting of Twelve Chapters, with Engraving of 
" My Two Aunts"— 1819 to 1839. 

Volume II. — Consisting of Twelve Chapters, with Plates of 
"Old Dover Packet Jib" and ^' The Castle of Annecy"— 
1839 to 1849. 

Volume III. — Containing Chapters I. to IV., together with 
Parts I. and II. of " Dilecta," and a THIRD hitherto 
unpublished Part, in addition to a Chronology and com- 
prehensive Index to the whole Work, and a Plate of " The 
Grand Chartreuse," from a Drawing by Mr. Ruskin — 1850 
to 1864. 

ON the OLD ROAD: a Collection of Miscellaneous 

Articles and Essays «n Literature and Art. In 3 vols, 
(sold separately), cloth, gilt tops, 5^. each net. 

The subjects dealt with are {inter alia) : My First Editor 
— Lord Lindsay's "Christian Art" — Eastlake's "History of 
Oil Painting" — Samuel Prout — Sir Joshua and Holbein— 
Pre-Raphaelitism — Opening of the Crystal Palace — Study 
of .Architecture — The Cestus of Aglaia — Fiction, Fair and 
Foul — Fairy Stories — Usury — Home and its Economies. 

GIOTTO and his WORKS in PADUA. A New 

Small Edition of the work formerly in the possession 
of the Arundel Society. With more than 50 illustrations. 
Crown 8vo, cloth, gilt top, with Index, yj. M. net. 

READINGS in "FORS CLAVIGERA." Fcap. 

8vo, cloth, 23-.. 6(t, net. 



RUSKIN and the RELIGION of BEAUTY: 

French View of Ruskin by ROBERT de la SIZERANNl 
Translated by LADY GALLOWAY. Crown 8vo, flot 
320 pages, 5J. net. 

The BOOK of the ART of CENNINO CENNIN 

A Handbook for Artists. Newly Translated, with Copioi 
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By CHRISTIANA HERRINGHAM. Crown 8vo, 3: 
pages, cloth, 6s. net. 
.TALES from BOCCACCIO. Rendered into Englis 
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Cover by BYAM SHAW. Pott 4to, cloth, ys. bd. net. 
The HOMERIC HYMNS. A New Prose TransL 
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LANG. Illustrated with 7 Photogravure Plates and 7 Ha 
tone Subjects from Old Greek Sculptures. Crown 8vo, 2: 
pages, cloth, gilt top, Ts. bd. 

GOOD CITIZENSHIP: Twenty-three Essays b 

various Authors on Social, Personal, Political, and Econoni 
Problems and Obligations. Edited by Rev. J. E. HANI 
with Preface by the Rev. CHARLES GORE, M.A., D.l 
Crown 8vo, cloth, 528 pages, bs. net. 

An ANIMAL ALPHABET BOOK. In Thi* 

Designs, printed in Red and Black, with Cover and Vera 
By SARA M. FALLON. Pott oblong, Cover in Coloili 
2s. bd. 

PEG WOFFINGTON. By Charles Reade. A Nil 

Edition. With 74 Illustrations, besides Initials and Cov( 
by HUGH THOMSON, and an Introduction by AUST 
DOBSON. Crown 8vo, 352 pages, cloth, gilt top or edges, 
Also 200 Special Copies on Arnold's Hand-ma; 
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George Allen, 156 charing Cross Road, London, W.C. 



BLACKIE & SON'S 

NEW ILLUSTRATED BOOKS FOR THE YOUNG. 



BY G. A. HENTY. 

WON BY THE SWORD: A Tde of the Thirty Vcais' War. With T«elve 
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A ROVING COMMISSION: or, Through the IJlack IiiMinvction ,,f llavti. 

Wall Twelve Pago lllustradnns by WlLLUll R.MXKV, R.I. l«. 

NO SURRENDER! A Tale of the Rishig of La N'en.lce. With Kiylit Page 

Illu.siratioTis b>' Sfanlev L. \Vool). 5.\-. 

*«* The above are the only New Boys Books by Mr. lleiily Issued this Season. 

FINELY ILLUSTRATED CHILORENS BOOKS. 



BY SHEIL.\ E. HR.MNK. 



l'.\- L.^'RIONl.!' HOUSM.VX. 



I-iV t AI'IWIN F. S. r,RERI':TOX. 

With Shield and Assegai : A Tale 

Mf ihe /ulu War. With Six llluMrati.jIi-, 
l.y St.a\1.|..n 1,. W'.iMi,. 31. tMt. 

V,\ \\. (.'. Ml':fCAEFE. 

All Hands on Deck: A Tale of the 

Sea. Willi Siv Illusiratinns by W. Kainkv, 
K.l. ;,(. 1.,^. 
\\\ v.. D.WICNPORT ADAMS. 

A Queen among Oirls. With Six 

lllllstratiiuis hy Hakih.d CiJfPlNG. 3.1. 6./. 
l;\' W. 0'li\RNE. 



The Princess of Hearts. With The Story of the Seven Young A Land of Heroes: St :res of Eaily 



Sc\eilly Illustrations by Ai.ict; 11. W'l 
w.AKD. Fcap. 4tO- 6.V. 

BY MABEL E. WOT FOX. 

The Little Browns. With Eighty 

Illustrations by H. M. Brock. Fcap. 410. 
6s. 

BY CARTOX .MOORE PARK. 

A Book of Birds. With Twenty-six 

Full-page Plates and other Illustrations by 
Carton Mooke Park. Demy 4to. 5.V-. 



i;OSI,IXi;S. illustrated in Colour bj 
.Mrs. 1'ekl\- I'r. OvMKk. (.rown 410. 
2,t. 0,/. 
BY AI.KF TALWAX MORRIS. 

The Elephant's Apology. With 

over Ihirlv I lUlstr.iti, ,n, hy Al.lLE li. 
W"oom\.\ioi. Fcip. 4to. '/s. at. 

\\\ A. B. RO.MXE\\ 

Little Village Folk. With lUustia 

tions hy RiiuEKr I-iorK. Fcap. 410. 



NEW CHILDREN'S PICTURE BOOKS. 
Cosy Corner Pictures. 4L0. With | The Cat and the Mouse. <Jbi.,n 

Coloured Illustratioiis. ut. 4^0. Ilkistratecl by A 

My Very Own Picture^ Book. 41* 

With Coloured Illustrations, ij-. 



In Doors and Out. ^u 

Coloured Illustrations. -,v. rui. 



W. \\'t)n|j\\AKt>. 

With 



Irish History. With Si v Illustratiuns by 

JmIIX II. l;.M ,,-V. 2.1. 6,t. 

\\\ F. HARRISOX. 

Wynport College : A Story nf 

School l.ih-. W'uh i:iqht Illustratio'ns by 

H.OJ (.orrlM,. 5.(." 

]:\ <;. MOCKLER. 

The Four Miss Whittingtons. 

With Ici'^ht Illiistrallons hy Charles M. 

She \. s.v. 

|;V CORIiOX STABLES. 

Kidnapped by Cannibals: A Stor\' 

otthc Southern Seas. Wiih Si.x Illustra- 
tions h\- I. FlMi\E,MoKE. 3.V. 6it. 

\\\ ELIZA POLLARD. 

The King's Signet: The Story of 

a Huguenot Family. With Si.x Illustra- 
tions hy C. D. H.\.MMoM). R.I. 3.t. 6,t. 



Complete BluslrateJ Catalot^iie post free on applieatioii. 



London: BLACKIE c\: SON, Limited, Old Uailey. 



THE ROYAL COPENHAGEN PORCELAIN 

Danish Ceramic Art 

Vases -V Figures -v Plaques 

BY EMINENT ARTISTS 

SUITABLE FOR PRESENTATION PURPOSES 




X's Hppolntment 

to t).a>. tbe 
liing of E)enmartt 




£1 appointment 

to tl.'K.D. tbe 

CirlnccseotTniale* 




Danish House, 294 Regent Street, London, W, 



THE STUDIO WINTER NUMBER 1899-1900 



British Trade Bookbindings and their Designers. 
British Tooled Bookbindings and their Designers 
American Bookbindings. By Ijiward F. Sikani;!-; 
French Bookbindings. Hy ( )( i w k Uzanm, - 
Dutch Bookbindings. l;>- <'rAi:i;ii';i, ArouKicv - 
Belgian Bookbindings. l!y Fkknami Khnoiif - 
Danish Bookbindings. l!y Gicom; Hkik iini-.r 
Bookbinding in Sweden, Norway, and Finiand. 
Supplements by \V. H. C'>\vlisha\v, 11. (Ikannim 



CONTENTS 
1 



i;y 



V. 



IIKR Wild 
IIIEK Wri 



/\7, 



Pa- S. 

E FeI 



1''kykhiii..\i 
L, Laukenc 



.-y 3 

38 

47 
57 
66 
6S 
74 
78 



E HousMAN, and Seiavy.x Imac. 



INDEX TO ILLUSTRATORS 



Armstrong, Margaret (4) 


/ 


'A'l- 1 


49. 52 


54 


55 


Beck, V. (2) - - 


80, 


Si 


Birkenruth, Miss (21 


41. 


43 


Boberg, F.- 




79 


Bradley, VV. H. (2) - 


47, 


56 


Claessens, L. (2) 


69, 


72 


Claessens, P. (2) 


69, 


72 


Cockerell, Douglas (5) 35, 


36, 


37 


Crane, Walter- 




3 


Cuzin, A.- 




62 


Davis, Louis (21 




5 


Dawson, C. E. - 




17 


De Feure, G. ■ 




65 


Desamblanx and Waekesser - 


71 


Ellwood, G. M. 




42 


Fazakerley, John 




45 


Flyge, d. L. 




75 


Fristrup - - 




77 


Giles, Althea - 




9 


Gisberg, Miss (2) 


So 


Si 


Goodhue, Bertram G. 




51 


Hadaway, W. S. 




55 



44. 



Hapgood, T. P. - - 7 

Hedberg, G. (4) 79- 

Heilmann, Gerhard - 

Henckel, Gisela 

Holloway, E. S. (2) - 

Horton, W. T. (2) - 

Houston, Mary 

Jenkins, W. (2) - 

Jockel, Miss (2) 

Karslake, Constance 

Kimborough, F. R. - 

King, Jessie (2) - 31, 

Knowles, Reginald - 

Kyster, Anker - - - 

Lane, Mrs. John 

Lepere, A. - - 

Lindegren, A. (2) 79, 

Loeber, J. A. (5) - 66, 67, 

MacColl, D. S., and Miss (4) ii, 

Macdonald. Mrs. (2) - 26, 

Meunier, Charles (2; 

Michel, Marius 



50 
82 
76 

K2 

52 
13 

43 

25 
46 

42 
53 
32 
10 
76 
53 
58 
Si 
68 
34 
27 
59 
63 



Moira, Gerald - 




Pai^e 6 


Morris, Talwin (6) - 


20 


23. 


24 


Nicholson, William 






4 


Ottevaere, H. (2) 




68, 


70 


Petersen, J. (2) 




76, 


77 


Prideaux, Miss (2) - 






40 


Rhead, Louis J. 






48 


Robinson, Charles - 


- 




14 


Ruban, P. (4) - 


58 


59. 


60 


Ryckers (2) 




68, 


70 


Sacker, Amy M. (2) 




49. 


50 


Sauty, A. de (2) 






39 


Sloan, John 






47 


Solon, Leon V. {2) - 






38 


Sparre, Countess 






78 


Traquair, Mrs. (2) - 




- 


29 


Turbayne, A. A. {5) - 


iS 


19, 


37 


Van de Velde, H. (2) 




69, 


73 


Wiener, Rene (7) 57, 60, 


61 


64, 


65 


Whitman, Mrs. Henry 






56 


Woodroffe, Paul 






17 


Zaehnsdorf, J. W. (2) 




41. 


43 



At the Sign of the Unicorn, ' 



THE ARTISrS LIBRARY. 

Edited by Laurence ];iL\YON. 

HOKUSAI. By Charles ]. Holmes. With 20 full-page Plates, 
four of which are colour print.s. 

"The first of what promises to be an 
Holmes does full justice to his 



Mr, 



T/ie Afanchesicr Guardian 
a.dmirable series of monographs 
subject.' 

The Westminster Gazette : 
Japanese prints." 

2. GIOVANNI BELLINI 

pa^e Plates (incluiling 3 Photogravures). 

TAe Sc&tsDtan : " Adequate knowledge, i 
judgment." 

The Outlook : " A scholarh' and able monograph 
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///. inorocLO. ^'ot ^old s^'paratcly. 1S92 

FOREIGN FANS AND FAN 

LEAVES, Flench, Italian, and German, 150 Plates, 
nnpl. folio (pub. at £■] is.), hf. inoroisco, reduced to 
Ci V- 1893 

These two works together, 2 vols. impl. folio 

(pub. at ^'14 14.1'.), /{/. iiiori\-io, reduced to £(i ds. 

Of 100 copies printed, only a limited nnmljer remain for sale. 
These fans give a pictorial account of important events in the 
XVUth and XVillth centuries. 



SWEDISH ARMOUR AND COSTUME. 

A. Lac.kki.iI's, rAnviurie Royale, folio, yi plwtohtho- 
i;raphi,- plairs of Suhdisli Aniwicr and IVeapons, the 
tfwt liv Osslhihr, in .Swedish and French, doth, £2 8j. 

Stockholm, 1897 

Very (<t\v copies were printed, and those privately. This is the 
only autiientic work on Scandinavian Arms and Armour. 

SOLON (M. L., Author of" The Art of the Old 

Eii,^iis/i J'atlcr") The ANCIENT Art Stone-Ware of 
the Low CiitiNiKiEs and Germany: or, " Gres de 
/■'taiidrcs and .Stchizci!^!;-." Its piincipal vaiietiesand the 
places where it was manufactured during the XVIth and 
.Wllth centuries, 2 vols. impl. 4to. with 25 copperplate 
clfhiiix's "'"^ 210 illustrations, sd. (instead of £$ y.) 
£}, ly. (id. Privately printed fr the Author at the 

Chiswiik Press, 1892 

Only 270 copies were printed for .Subscribers at ^5 55. each; to 
unn-Suljscribers .Mr. Solon charged ^y ys. Very {ew copies remain for 



The same work, 2 vols. impl. 4to. printed 

('"Japan Paper, -«/. (/;/.t/(.-afl'<;/^io ioj. )/5 5i. 1S92. 

Oiily 25 copio printed in this superb state. 

OLD WEDGWOOD, The English Relief Art 

Work of the XVIIIth Century, made by Josiah 
WEDCWiH »i), at Etruria in Staffordshire, 1 760- 1 795. 
li\' V. Ka'MIHo.xic. This grand work is now completed 
in eii^ht jxirts, royal folio, ivitfi 65 siiferb Cfiro/no-flateSj 
in the colours op' the originals, doi7e i(p in extra cloth, 
£\o \os. 1893-9S 

A ii^reat natioiial Work oi Art, of which 200 copies were produced. 
Now almost out of print. 

EDWARD FITZGERALD'S RUBA'IYAT 

of Omar Khayyam. With the Original Persian 
Sources Collated from his own MSS. and literally Trans- 
lated by Ei)WARi.i IIeron-Allen. Royal 8vo, xviii 
and 164 pp., bound in Persian green cloth and gold, 7s. 6d. 

The object with which this volume was compiled was to set at rest, 
once and for ever, the vexed question of how far Edward FitzGerald's 
incomparable poem may be regarded as a translation of the Persian 
originals, how far as an adaptation, and how far as an original work. 

The whole of the definitive (fifth) edition of FitzGerald's poem 
is included in the present volume, and also the stray quatrains that 
appeared in the Introduction and Notes to that poem, and those which 
appe.ired in the earlier editions of the poem and which have since been 
eliminated. Throughout the volume these appear on the left-hand pages, 
tlie right-hand pages being occupied by the Persian text of the original 
i.|uatrains that uispired KitzGeraid, together with a purely literal, Hne- 
fi.ir-line Iranslatimi and references to the known texts in which they occur 
in identical <jr more ur less waried forms, 

VEDDER'S ILLUSTRATED EDITION 

OF THE RUBA'IYAT OF OMAR KHAYYAM, 

the Astronomer Poet of Persia. Rendered into English 
A'erse l>y Ki)\v.\Rii FitzGerai.d. With an Accom- 
paniment of Drawing.s by EuHU Vedder. The original 
folio edition, scarce, ^6 6s. 

The same Designs, reduced, 410, 53 superb 

I'hoto-lilhographs of Mr. Vedder's wonderful Designs, 
and 8 leaves of Printed Text, boards, £2 2s. Boston ■ 
Houghton, Mifflin & Co., 1SS6. 



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Till THIRD AND CONCLUDING VOLUME ,.K PROFESSOR MASPERO'S GREAT WORK on tiif 

HISTORY T°H^H ANCIENT PEOPLES r°^. CLASSIC EAST, 

uode..hedu..f"THE PASSING OF THE EMPIRES," 8^0 B.C.— 330 B.C. 

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■ ' Media, &c., to the victories of Alexander the Great. Among other things of interest to Fuble Students It deals with 



AssjTia, Babylonia, I . . , , _ . 

the circLimsLances attending the Captivities of Israel and Jiidah, and throws much light on tlie histori 



H'ercnces in the Prophets. 



THE HOLY GOSPELS. 

WITH ILLUSTRATIONS FROM THE OLD MASTERS OF THE XlVth, XVth, AND XVIth CENTURIES. 

More than three hundred works, dealing exclusively with tjie events of our Lord's life, have been chosen from among the greatest examples 
of the Italian, German, Flemish, and French Schools for the subject of these Illustrations. These Pictures, distributed as they are amongst the 
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which they were intended to illustrate. Notes dealing with the Pictures from the artistic standpoint are contributed by M. Eugene Muntz, 
Member of the French Institute. Tile publication includes also a Chronological and Biographical Table of the Painters whose works are 
reproduced and a Classified List of the Engravings. The Work contains 384 pages and over 350 illustrations, 4S ol these being separate 
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ARUNDEL SOCIETY'S PUBLICATIONS. 

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selection of superb reproductions in Colours and Monochrome of Masterpieces by 



QIOTTO 
MASACCIO 
FRA ANQELICO 

Hitherto these Publications ha\e. 



I 



MEMLING 
DLJRER 



BOTTICELLI i MICHAEL ANGELO 

GHIRLANDAIO RAFFAELLE 

PERUGINO I VAN EYCK 

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most artistic of the present day, and dhisirated articles on them have 
appeared this year in the K nnst iiii.i Kuyisthandbing (Vienna), the 
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THE STUDIO 

SPECIAL WINTER-NUMBER 1899-1900 

MODERN BOOKBINDINGS AND THEIR DESIGNERS 



B 



RITISH TRADE BOOKBIND- 
INGS AND THEIR DESIGNERS. 
BY ESTHER WOOD. 



Books hold a distinct place among the 
subjects of applied art. ^^'hatever beauty they may 
claim in form and ornament belongs to an order 
quite their own. They bear no relation to what are 
commonly called the necessaries of life, though no 
true book-lover would ever admit them to be less 
essential to his being. " Books are my tools," says 
the poor student who stints himself of food to gain 
what he deems more urgent means of development. 
" Books are my best friends,'' says the recluse when 
he shrinks from the keen interplay of wit with living 
men, and seeks the S)'mpath3' of those that ask no 
questions and drive no comments home. And 



whether as the instruments of knowledge, the de- 
light of quiet hours, or supremely as the channels 
of the wisdom and aspiration of the past, books 
appeal to us for a certain decorative homage as 
temples wherein is enshrined the living sacrament 
of wisdom, the most immortal of mortal things. 

The nearest analogy to the art of bookbinding is 
that of dress. The apparel we associate with some 
gracious personality, the garments of ceremonial of 
of daily use and wont, have their counterpart in the 
covering and adornment of books. These demand 
a treatment quite other than that of even the 
choicest furniture, and different again from that or 
pure decoration, which needs only to harmonise 
with the general tone and equality of its setting, and 
is not governed by a preconceived idea. The art 
of the bookbinder is to contrive a srarb becominc: 




Q 







DESIGNED BY WALTER CRANE 



(Messrs, Harper and Brothers) 



BritisJi Bookbindings 



to the author and to the nature of his work, just as 
the art of dress is to express in some degree the 
character and function of the wearer. 

I'o express — or at least to suggest — a personahiy 



carve, and finish his own works, from giant iron to 
golden filigree. Few authors are inclined or able 
to print, bind, and decorate their own books. 'J'hus 
the most subjective and intangible things are laid 



other than his own, the artist must belong, not to the under the hand of the practical craftsman : colour, 

first order of great original and creative minds, but form, and ornament are brought to bear upon the 

to the order of interpreters, which sometimes calls offspring of the mind. 

forth qualities of insight, of analysis and S)'nthesis, T'or literature itself is the most human and 

hidden from genius and revealed to an exquisite personal of the arts, and brings us nearer than any 

intuitive talent, a scrupulous and discerning taste. other to the knowledge of the individual man and 

Nor does this general distinction bar genius from woman. Painting and sculpture, steeped in the 



the art of cover-design : on the contrar\-, there 
have been modern instances in which the co\'cr 
has fieen greater than the book. But binding is 
essentially a collaborative art, re(iuiring the most 
quick and delicate sympathies, like the task of the 



spirit of an age, or eloquent of a mood, a vision, 
of a master, never seems to give us so intimate a 
revelation of the heart and mind. Next to the 
actual magnetism of a voice and presence, no 
power can rival the influence of the written speech. 



uator^axns 



WE*Henley, 



accompanist to a singer. In other arts and crafts in which emotion, intellect, and imagination have 

a complete unity of achievement is sometimes equal sway. 

possible ; a Cellini ma\- design, and forge, and The history of bookbinding is the history of the 

passing of literature from 
the stage of a private 

'T' I*;"'" ■"■■"- '■ ■" ""■"■ , — „.-^^ - ^ .. - ; - ,-.»,- y.: -, trust to that of a public 

y ■ ; possession. The wisdom 

of books has emerged 
from the custody of the 
priest and the law-giver 
and become the inheri- 
tance of the common 
people. Copyright works 
— by which, broadly 
speaking, is meant cur- 
rent literature — only re- 
present a portion of the 
bookseller's stock, and 
not usually the portion 
in which the best bind- 
ings are found; for in 
spite of much vital and 
characteristic art be- 
stowed on new publica- 
tions in the matter of 
cover-designs, it is 
among books of assured 
fame and value that 
developments must 
chiefly be looked for on 
the main lines of the 
craft. The cover of a 
new book should na- 
turally be rather a tenta- 
tive and experimental 
thing. The book itself 
comes among us on 
probation, to find only 




Londonlypes 

ByWilliamNicliolsoA. 



I;ESir,XEll P.Y Wn.LIAM MIHOLSON 



{ ll'illiajii Hcineiiiami ) 




^3 




BritisJi Bookbindings 



gradually its proper nirhe upon our shelves. So 
it seems right that the dress in which it first 
appears should be simple rather than elaborate, 
though not so modest as to be insignificant and 
fail to attract notice ; on the contrary, it may well 
afford some challenge, and even be curious and 
fanciful, exciting interest in its title and contents. 
For this reason the designing of modern covers for 
the trade borders very closely upon poster-work, 
a questionable tendency at the best, and onl)' 
admissible into ephemeral products, but cjuite 
intelligible in the light of modern conditions of 
sale. The cover in such cases has to serve the 
purpose of an advertisement, suggesting and 
conunending, as far as possible, the contents of the 
volume to the buyer. It is only when the book 
itself has become approved and loved, or has 




DESIGXIili EV 

6 



;erat.I) iroiRA 



approached in some degree to the measure of a 
classic, that it lends itself fully to hand-work, is 
promoted from the gown of cloth to that of leather, 
and generally passes at the same time from the 
unfeeling impress of machinery to the more human 
and responsible touch of tools. 

For the popularizing of literature means that 
bookbinding, as an art and handicraft, has long 
since ceased to keep pace with the demand for 
books. To place them within the reach of average 
purses was inevitably to bring machine-production 
to the bookseller's aid. Either the whole Avorld 
of literature was to remain closed to nine out of 
ten of the community, or the fine handicraft of 
bookbinding must be supplanted for all ordinary 
jmrposes by low-priced machine-made covers. For 
a century or so the English public accepted the 
latter alternative. It is only 
within the last decade that a 
new question has arisen : a 
question which would have 
seemed almost impious to the 
first eager pioneers of handi- 
craft revival, but which has 
steadily forced itself upon 
open-minded critics and crafts- 
men. Must all machine-work, 
under all circumstances, be 
hopelessly vulgar and com- 
monplace ? Have we pro- 
nounced a final anathema on 
everything short of handicraft 
for applied art ? Is it possible 
to infuse at any point some 
genuine artistic spirit into what 
is called trade work ? 

To this question the cynic 
might, perhaps, put another : 
Have w-e in England any con- 
siderable public that cares at 
all whether we do so ? 

It cannot be denied that the 
modern world has developed, 
through the fecundity of books, 
a sort of cheapness fatal alike 
to intellectual and aesthetic 
discernment. The half- 
educated man, esteeming 
himself a bibliophile on the 
strength of the Penny l^oets 
and a pirated Ruskin, and 
thinking the covers of such 
productions quite good enough 
at the price, unconsciously 



(George Bell c- Sous) 



" DESIGN FOR BOOK COVER " 

B^ Sh'LWYN IMAGH. 







paiDuei . 

ojune 

xixceojurc/. 





3 m 




Britisli BookbiiuUiigs 



lowers the standard of beauty, of choiceness, both 
on his book-shelves and in his mind, asking, ^\'hy 
buy good books when cheap reprints go almost 
a-begging? — just as the indiscriminate Wagnerian 
says, Why go to Ba\-reuth when the Carl Rosa 



Robinson, F. I). Bedford, Alice B. ^^'o(Jdward, 
Talwin Morris and A. A. Turbayne occur to us 
among others as typical of the new departure on 
these lines, ^\'ith these must be reckoned men 
already famous in larger and more original forms 



Opera Company will play "Lohengrin"' to sixpenny of art — \\'alter Crane, bringing over something of 

seats? the Kelmscott traditions of beauty, and William 

Yet these questions have been partially answered, Nicholson at the opposite pole of feeling, (juicken- 

and in a hopeful way, by the rise in England of a ing and modernising design by his brilliant 

small but distinct school of designers at work upon im|)ressi()nist portraits, bordering upon the poster 

the covers of machine-bound books. The unique and upon caricature. 



Beardsley can hardly be bracketed among them, 
though his influence upon all decorative draughts- 
manship is now beyond dispute, and he was 
closely associated, in the Keynotes Series and other 
Bodley Head publications, with some of the 
earliest efforts to improve trade binding in this 



The treatment of a cover-design — or, as our 
American friends aptly call it, a "cover-stamp," 
thus clearly marking it off from tooled work — 
seems to fall naturally into three methods. It 
may be symbolic, suggesting in imagery the sub- 
ject and spirit of the book, or it may verge on the 



country. But the names of Charles Ricketts, pictorial, and point the contents in an illustrative 
Laurence Housman, H. Granville Fell, Charles manner, or it may seek pure decoration, and con- 
cern itself only with the 
beautifying of a given 
space; subject, however, 
to the principle already 
laid down, that the dec- 
oration of books must 
always bear some direct 
intelligible relation to 
the literature within. 
\\^e arrive thus at a 
rough-and-ready division 
of our cover-designers 
into symbolists, impres- 
sionists, and decorators : 
a classification which 
may be modified and 
enlarged as we come to 
consider more closely 
the individual manner 
and work. 

The revival of book- 
binding on the side of 
handicraft is, of course, 
but one phase of that 
great movement in dec- 
orative art of which 
^Villiam Morris was the 
leader. But the UKjdern 
development of the art 
of design in relation to 
trade bindings tnves 
nothing directly to 
Kelmscott House. No 
account of that develop- 
ment can be fairly given 

9 




DESIGNED BY ALTHEA GILES 



( /'ishci' Uiiwin) 



Britisli Bookbindiiifrs 



without at least a cdnlial rci-ognition of tlic 
stimulus it rci:ci\\(l through the entcriirisc ot 
two )-ouug uicn honi Harvard Universit)-, who, 
with the rare combination of wealth, culture, and 
youthful enthusiasm, went into business as pub- 
lishers, and set ihem.^elves to create and loster a 
new taste in book-co\er designs. The hint fouiul 
quick response, and was thrown out almost simul- 
taneoush" in hairope by tlie publishers who hrst 
staked a reputation on ISeardsley and his colleagues 
of the Yellow Bonk. 

But the effort towards novelty, towards sincerity 
and vigour, did not confine itself to the audacious 
and peculiarly "new" art of the Yellow Book 
school. It rein'esented als(j much serious and 
independent work that was being done by English 
designers both of high promise and of established 
fame. Firms of assured position were roused to 
set a higher standard of binding and decoratit)n 



MAS TE K 

MOCKEK®> MOCKED 




ALICE SAfVGANT 



DESKi-NED BY KEOI.X.VLl) KNuWI.ES 
10 



(Dcnl e-= Co. ) 



for tlieir books, and gradually gathered round 
them gri.ups of artists ready to give some of their 
best energies to co\-er-design. I'urthcr than this, 
the designers formerly identified with pure handi- 
craft liegan to welcome a larger public for their 
work, and such names as those of U'alter Crane, 
Henry Holiday, Scbvyn Image, Herbert P. Home, 
Louis Davis, and \V. H. Cowlishaw, with others of 
the Kelniscott lineage, entered the publishers' lists. 
'Die advance, it is needless to say, only represents 
a seeti(.>n of the English trade ; and while welcom- 
ing a few of the first-fruits- here illustrated — of the 
efforts of its more enterprising and judicious 
pioneers, it would be vain to blind ourselves to 
the unreclaimed wilderness of cover-space, choked 
with the veriest weeds of draughtsmanship, which 
still runs to so vast an acreage in the booksellers' 
shop. Some clue to the long estrangement be- 
tween merchant and artist may perhaps be gained 
from the admission shamelessly made 
the other day liy a well-known pub- 
lisher, that he never gave more than 
half-a-guinea for a cover design. 

Perhaps the first condition of merit 
in cloth-bound books is that they shall 
make no affectation of a higher origin 
than their own, or of a treatment proper 
to leather. Their beauty must always 
lie in design, in plan and conception, 
rather than in finish, though this at 
least may be neat, serviceable and 
sincere. They should indeed be wholl)' 
and obviously distinguished from those 
bound by handicraft, for the problem 
of bringing art, however indirectly, to 
bear upon commercial products is never 
solved by making machinery imitate the 
work of tools. 'Pile cover-design shcjuld 
be unmistakablv printed or stamped, 
and not wrought t>r painted — half of 
the degradation of art in the present 
century has occurred through a false 
shame about processes, and a desire 
to get, b)- a ([uick method, an effect 
only honestly got by a slow one. Glue 
and wire, inadmissifde in the ideal 
method, may be quite legitimate in the 
lesser. The cloth had better be left 
plain, or merely stamped with the title 
and its attributes, than have the quality 
of its surface frittered away by trivial or 
showy ornament. Only a good texture, 
however humble its nature in the scale 
of values, can hold a good design. 



"DESIGN FOR BOOK COVHk 

B\' LAljRhN(;i; HOUSMAN. 

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rci;-ard to literature that what seem to us the 
most powerful studies of i-hiUl-lile are by no means 
those that commend themseh-es most favourably 
t(i little readers. So in art we can never be sure 
that our favourite pictures of children will become 
po|)ular in the nursery. 15ut there is in the designs 
of this artist a peculiarl)' bright and sympathetic 
touch, which keeps his sul:)jects well within the 
child's own world, and lights them with the near 
light of common interests and ideas. In Mrs. 
I )ollie Radford's G<:iodiu\'hf, he has been fortunate 
in collaborating with an artist of kindred spirit and 
charm ; and the cover-design harmonises well with 
the poems within. 

To the same school, but to a somewhat more 
austere and serious temperament, belongs the work 
that it should be especially welcomed, for no branch of Selwyn Image, of which a slight but favourable 
of art is more potent for the future than that which example is given in the cover for Rcpresciitative 
appeals to the young, and sets more fixedly than I'ai/ifers of f/ie Century. It is essentially the work 
we realise the taste of the coming generation. of a mature, highly cultivated, and perfectly dis- 

The work of Louis Davis must be given the ciplined imagination, neither lacking in freshness 
highest credit for its influence in this field. En- nor losing strength in over-refinement and subtlety 
abled by temperament to lose himself more whcjle- of thought. The ^'olume comes from a publishing 



It follows that artists a( (.ustomed to designs for 
reproduction will ha\e an advantage in entering 
this field. The name of Walter Crane has alwaws 
stood high in modern black-and-white illustration, 
and in decorati\x- cartumis, textiles, and wall- 
[lapers The buo)'ant Elizabethan atmosphere 
that charged his TriiDiipli of Labour with such 
convincing dignity, vitality, and grace is hardl)' 
less distmctive m his book-covers. M'ith such 
material as Spenser's S/icp/ieards Calender he is 
thoroughly at ease, and the breezy pastoral spirit 
of the original lends itself perfectly to the play 
of his own. A lighter but similarly congenial 
task has been fulfilled in .7 Flora/ Fantasy : and, 
although the latter is hardlv more than a high-class 
nursery picture-book, it is, perhaps, in that aspect 



heartedh' in child-lore than \\'alter Crane — whose 
creations are more self-conscious, less convincingh' 
artless and nan'e - he has giN'en us, perhaps, the 
most winsome children to be found in modern 
black-and-«hite. It has often been said with 



house which has long been associated with books 
about art and artists, and is therefore looked to 
for some worthy lead in the decoration of their 
covers. 

In considerinsi' the excursions thus made into 



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DESIGN FOR BOOK COVER 

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DESIGXEI) HV TALWIN MORRIS 



(Blackic <sr Son) 



trade-work by those whom we generally associate 
with "\Mlliam Morris and his circle, it would be 
unjust to omit the name of W. Harrison Cowlishaw, 
who, though chiefly distinguished in archi- 
tecture and the larger branches of design 
and handicraft, has contributed by the 
neglected art of illumination to the beautifying 
of hand-liound books, and has given us one 
or two cloth cover-designs of agreeable 
memory. 

Near, but yet clearly distinct from the 
Kelmscott group, is the delicate and highly 
poetic talent of R. Anning Bell. Though 
finding its fullest and happiest expression 
in gesso, it has been abundantly fruitful in 
decorative black and white, in exquisite 
illustrations and title-pages, and in cover- 
designs which fascinate us, not by power, 
but by a rare simplicity and purity of con- 
ception, a subtle and ethereal grace. The 
artist belongs to the line, perhaps, most 
sure of its succession — the line of those 
who concern themselves with beauty, and 
beauty alone ; for whom no real or apparent 
conflict between truth and beauty ever dis- 
turbs the serenity of vision, in a world 
peopled with forms all tender and joyous, 
pensive and ideal. 

Charles Ricketts and Laurence Housman 
20 



represent a more robust and virile imagina- 
tion, working through individualities strongl)- 
distinct, both from the preceding designers 
and frtjm each other. The former, though 
he has made his mark most widely in black- 
and-white illustration, is even more admir- 
able, and certainl)- no less original, in cover- 
designs, of which his Silver-points occurs to 
us as the best illustration. In this dainty 
and wonderfully fit design, the decorative 
use of vertical lines, popularised by Aubrey 
Beardsley and imitated by Louis Rhead and 
others of the trail left by that meteor in the 
wake of his genius, is most effective. The 
art of Laurence ITousman, which has over- 
run design into literature, has been largely 
associated with that of the pre-Raphaelites, 
from his cover of Christina Rossetti's Goblin 
Market to that of the newest volume on her 
brother's work. This last — the cover-design 
for ]\Iessrs. Bell's handsome volume on 
Dante Gabriel Rossetti — fulfils its decorative 
piurpose with dignity and charm. It belongs 
to the successes of pure ornament ; rich in 
c(jnception, strongly composed, and con- 
gruous with the temperament of the author. 

It is in this vein that Laurence Housman's work 
becomes most satisfying to the mind and eyes. In 




DESIGNED IIY TALWIX MORRIS 



( Blackie ^ Sojt ) 



DESIGN F(JP BiJQK CGVEK ' 

B\ LAUHhNC H HOPSMAN, - 



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DESIGNED BY TALWIX MORRIS 



( T/ic Grcsliaiii rulilhliing Coni^auv ) 




lE^IGXE^) BY TALWIX MORRIS 



( niackic fr-- Son) 




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figure-drawing his power verges continualh' on the 
grotesque— -as perfer\i(l, eon\ulsi\-e, riotous, and 
restless ahuost as that of iilake ; liut, as with so 
nian\- on whose spirit tlie liurden of romantie feeh 
ing presses Irard, it is in the beauty of the earth 
itself that " the hea\'\- and the wearv weight, the 
Ijurden of the niyster\-,"' is lightened ; and h\ the 
choiee and use of natural lorms a richly sensuous 
fane\" attunes itself more perfectly to artistic ends. 
Alike in Laurence Housman and in Charles 
Rieketts, the pre-Raphaelite tradition persists in 
spite of and alongside of their own indi\idual gift. 
The work of the latter, indeed, may be said to 
form a link- theoreticall)' inconceivable, but 

actually undenialjle l)etween the pre-RaphaeliteS 

and Aubrc)' Beardsley. Much of his black-and 
white drawing is curiously reminiscent of k'rederick 
Sand)s at his best, in the period, say, of Danae in 
th( Bi-avii Chamber, with its audacious paganism 




DESIGNED BY MRS. MACDONAT.D 

;6 



EXECUTED KY TUE GUILD OF ^V051E^■ r.INDERS 



of spirit and sumptuous decorative detail. Yet, on 
the other hand, lieardslcy himself was hardly more 
exotic, more con\-entional, in the treatment of the 
human figure. In the creations of Charles Rieketts 
we have the ver_\- antithesis of pre-Raphaelitism, if 
by that we mean in an)' sense a return to Nature, 
to simplii'it)-, to the passionate dignity of a free 
and ardent life. His cover-designs for the most 
part represent a phase of his art distinct from 
anything be has done or sought in illustration. 
More spontaneous and simple in style, and in- 
disputably more lieautiful. His symbolism here 
becomes more chastened and less laboured, and is 
always subservient to decorative effect. Thus he 
sliares with Laurence Housman the title of a decora- 
tive s)'mbolist, seeking beauty supremely, but pursu- 
ing it by de\-ious and fanciful ways, mystic, suggestive, 
and full of intellectual motive and idea. In both 
of these, as in another draughtsman of their 

kindred, C. H. Shan- 
non, the curious pedi- 
gree hunter in art may 
trace the influence of 
Elake — still so subtle 
and inestimable a force 
that, after the lapse of 
a century, the teem- 
ing chaos of his world 
of vision has been 
reduced in the third 
generation to some 
aesthetic coherence. 

In the work of H. 
Ciranville Fell we come 
upon one of the most 
sincere and graceful of 
modern designers. 
Allied on one side to 
the foregoing artists in 
decorative intent, he 
breaks from them in a 
certain largeness and 
leisure of handling 
which they miss in 
intensit)- of idea. Less 
original and less in- 
spired than either, he 
yields less permanent 
interest and satisfaction 
but more immediate 
])leasure. Seeking a 
wider world to concjuer 
than tliose to whom 
medievalism is the last 



British Bookbindings 




t-u.... — u «.n-wiii».it»iin«iMiiniir"i«wr" 




DESIGXED BV MRS. _M ACIiOX Al.D 



E.XErUTEIi IIV THE CUIEI) OF WOMEN BINDERS 



word of the ideal, he has attained more dignity and 
sobriety of power than any contemporary of equal 
decorative skill. It is doubtful if any other available 
illustrator would have surpassed frran\ille I-'ell in 
his designs for the Soii}^ of So/i>mo/i and the J^ook of 
/oh, both of which have been justly reckoned among 
the "books of the }-ear." This, it will perhaps be 
urged, is not saying very much, considering the 
poverty of the present decade in subjective art, 
given over as it is to external impressionism, and 
lacking in any such constructive thinkers as Rossetti, 
the early Millais, and Frederick Sandys. But the 
refined and judicious quality of his talent finds 
singularly congenial scope in the most id3'llic love- 
.song of Judtea, and the great dramatic masterpiece 
of Hebrew literature — the tragedy all the more 
exacting to the interpreter because of the frag- 
mentary and " bowdlerized" condition in which its 
successive editors have handed it down, I'he artist 
has made the best use of an academic training in 
which a "knowledge of the figure" is the sole ideal, 
and has done for himself what such students are 
left to do — to gain independently their knowledge 
of design. The same credit must be given to 



another academically sound draughtsman — Gerald 
?\Ioira ; gifted perhaps with a stronger sense of 
beaut)', especially in colour, and incarnating it in 
more vigorous and distinguished types. His co^'er 
for the C/iis7iiick Skakes/eatr is a rich and satisfying 
decoration, frankly modern, yet just sufficiently 
choice and austere to be worthy of its association 
with our greatest English name. 

Poets have suffered much at the hands of their 
interpreters — illustrators, decorators, commentators 
of all kinds, by pen, brush, or pencil. Keats has 
been a specially favourite mark of aspiring designers. 
Shelley seems to have escaped with but a few 
random shots. Omar Khayyam may be said to 
have died daily of inconsequent binding, and 
Tennyson has borne the brunt of experiments 
with Rossetti and \V. B. Yeats. One of the most 
distinctively "new" men — W . T. Horton — has 
lately thus spent himself upon the English classics, 
though not always with such failure as we have 
hinted at in the matter of artistic results. Still, it 
must be said that a spirit steeped in that weird and 
fantastic beauty which is closely akin to ugliness is 
hardly the spirit in which to ap[)roach Shakespeare or 

27 



British Bookbindings 



Keats. True, the positively offensive features of 
the Coleridge book-co"\-er- -aeeountable, if not 
pardonable, in relation to the author of Chrisiabcl 
— are absent from the two we reproduce. There is, 
moreover, a certain grave, elusive charm in the 
designer's use of quasi-classic, quasi-renaissance 
landscape, in spite of its obvious derivation from 
Beardsley, and its naive botanical blunders the 
same conventionalized tree having a straight stem 
when it grows in the ground and a crooked one 
when it is put into a vase or pilaster. Though 
identified very closely with what is called the 
Celtic revival, represented in Ireland bv ^^'. B. Veats 
and in Scotland by two distinct "schools" at 
(dasgow and Edinburgh, the art of ^^'. T. Horton 
is as yet too vagrant to be "placed" and classified, 
and seems at first sight curiously remote from the 
passionate and wistful Celtic twilight so charged 
with mvstic colour and the poetry of dreams. 
Nothing could be colder and more austere in feel- 
ing than these two co^■er-desiglls for Sliakcspcarc 
and Keats, or in greater contrast to the tender 
human pathos and poignanc\- of Tlic Secret 
Rose. Other designs, howc\'er, which we have 
seen from the same hand re\'eal a nearer if a still 
uncanny beauty, a wonderful delicacy of decorati^■e 
line which might find much more successful in- 
spiration in the poetry of Edgar Allan Foe. 

The name of Patrick ( leddes, so honourabl)' 
associated with the intellectual and aesthetic life of 
modern Edinburgh, is also largch' representative of 
the revival of creative art in that centre, of which the 
publication of Tlie Evergreen was a pleasing" and 
hopeful witness. The cover-designs for that 
delightful and too deciduous issue must not be 
forgotten in a mention, however brief, of those 
vigorous )'oung designers who share, with a similar 
group in Clasgow, the honours of the renaissance 
in the North. But it is in Talwin Morris that we 
find at once the most t\'i.iical and prolific of the 
Celtic school of design. \\ith an original, fiut 
as yet undist-ijjlined, imagination he unites a 
fastidious, if somewhat uncertain, taste ; and the 
results, if not equally inspired, are alwa\s interest- 
ing and characteristic of individual feeling. Among 
the examples winch we re])roduce, the covers for 
The Handsdiiie Brandons, Literary Pastimes, and 
The Admirattv JLoiise nxtt xhi.: most successful. The 
Tag/e's jVest might reveal still higher qualities of 
design were it not spoilt somewhat in the photo- 
graph by the emphasis given to the white. Jiut 
there has been an effort to re[)eat at all costs on 
the back the decorative formuke employed on the 
face of the volume — an illustration of a sound 
28 



principle too literally employed. The ideal of the 
back design should be to form an organic total, if 
we ma\- so express it, rather than a summing up 
of details ; an end almost perfectly achieved by 
another artist, Chas. E. Dawson, in his cover for 
The Image Breal;ers, which shall be presently 
describetl. Talwin Morris, indeed, has come well 
within sight of it in the Literary Pastimes above 
mentionetl. His free and facile decorative line 
is here used with the most admirable reserve and 
refinement ; while m Tlie Haitdsome Brandons a 
more romantic and naturalistic figure is no less 
happily introduced. The richly eclectic talent of 
this artist has led him, perhaps almost inevitably, 
to absorb certain mannerisms which have crept 
into modern design, through the opening up of so 
many sources of knowledge and inspiration from 
the art of the past. Never in the history of 
aesthetic expression was the work of past ages and 
all lands laid so wideh' under contribution to the 
work of to-day. iM'om the Greek vase and the 
Egyptian papyrus to the Indian lotus and the 
bamboo of Japan, from the symbols of human 
passion to those of heavenly light and fire, there is 
hardly a decorative convention that has not been 
borrowed, adapted, degraded, and restored again in 
succeeding generations till neither the individual 
nor the age, if even the nation, can claim them as 
its own. The formula which we may call the 
" compressed heart " is a special favourite with the 
decorators of the present decade, ^^'e have it in 
our carpets, our wall-])apers, our inlaid wood, our 
beaten metal, in ever\' form of wrought, woven, 
stamped, or printed ornament, and in the book- 
covers of Talwni Morris it greets us yet again. 
His use cjf It m TJie Admiralty House is very 
ingenious, if not quite i)leasing, — whether set upon 
a wicket at the back of the book, or on a pikestaff 
in the front of it. The proportions of the design 
are beautiful, the lines delicate and strong ; and if 
the grouped dots are a little superfluous, the dainty 
aftectation oi the signature, or cryptic "mark," of 
the designer is ver)- pardonable, and, indeed, in 
keeping with his style. The cover for Her Friend 
and Mine has probabh' lost something, both in the 
first and in the second reiiroduction. The lettering, 
both in this and in Tlie .-Idmira/tv House is excellent 
in character, in proi)ortion, and in suitability to the 
nature of the design. The use of italics — so very 
rarely harmonious with a conventional decoration 
— is agreeabl)- and skil full)' managed in The Eagle's 
Nest. In the volume on Gladstone the end cover 
is more restful and satisfying than the front ; while 
the back affords, as it should do, a good resume of 











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the two. Of this artist it mav be said that even his 
failures are cle\"er laihires, and earr\' with tlieni a 
certain wa\ward charm far more lo be welcomed 
than the successes of the merel)' orthodox and 
correct. 

The design for the Tlw Ima^^t" Breakers^ by 
Chas. E. 1 )awsoii — a )-oung artist already known in 
the realm of posters --seems to "We less than any 
other recent book-CdVer to the work of more 
experienced craftsmen. It is at once symbolical 
and decoratiye, summing up in a few finely-conceived 
outlines the purport of the book —a story of two 
souls seeking each other in the garden of life, and 
brought together in the chastening Irres of experience 
and lo\-e. 'I'he plan and proportions of the design 
are bold and good, and a wise judgment and reserve 
ha\e saved the symbolic froiri la])sing into the 
pictorial, and losing thereby its subtle and suggesti\'e 
charm. On the back the decoration, based upon 
the human form, unites an almost primitive simplicity 
of line with a distinctly modern quality of emotional 
expression. The aesthetic effect of the few slender 
curves by which the artist has suggested the 
embracing figures rises almost to the order of 
music. The technical efficiency of the design is 
fortified by a knowledge of reproductive processes 
which allows tor something less than jierfect printing, 
and yet maintains unimpaired the essential cjuality 
and spirit of the drawing. 

With the cover of Gardens Old and yew we 
may welcome another new-comer in design — 
W. Jenkins, a young (_'anadian, whose work shows 
great promise and admirable achievement, in 
strength and dignity of composition and in a 
certain warm and mellow beauty of colour. This 
decoration, with its bold and simple letters and its 
singular harmony of ])arts, forms one of the most 
■satisfying book-covers of the year. 

Side by side with the leaders of the younger 
generation, there are always certain men whose rich 
•equipments of taste and culture ser\'e to balance 
the lack ot any strong inspiration or originality in 
their art. Individualit)- they ma\- have, and an 
imagination more stable, if more limited, than that 
of the symbolists ; giving us, indeed, some of the 
most ex(piisite forms of pure decoration. To this 
important group belongs the judicious and perfectly 
■ordered talent of A. A. Turba}-ne. In him, the 
poetic (|uality of Tennyson finds an almost ideal 
•interpreter, and his cover for the Life and ]Vorks 
of the late laureate affords a handsome series of 
volumes, decorated at the back with a singularly 
rich and dignified design, and on the face with a 
simple medallion, of which the only criticism that 
3° 



suggests itself is that it might be brought a trifle 
nearer to the optical centre of the book. The 
Sln^kespeare Antlmlogy is adorned with an adroit 
con\-ention from the topically English rose. Intri- 
cate and obscure, it does not weary us by a 
perplexing challenge to the eye, but fulfils very 
happily the aim of a pattern ; not thrusting its 
detail upon us, but revealing it gradually as a 
pleasant surprise. Here, as in the Tennyson, the 
title is well set, the lettering is :';ood, and the space 
provided for it occurs well in the decoration, 
forming, as it should do, an integral part of the 
scheme. Vet, even among such meritorious designs, 
it ma\- not be out of place to remember that the 
de\-elopment of })attcrn, howeyer beautiful, has 
alwa\'s a tendency to lead to the undervaluing of 
the qualit\' of s/^aee in design, and the consequent 
neglect of the material which the pattern adorns. 
Certainly, our contact with the Japanese has done 
much to correct this tendency in the younger 
generation, but we may still observe, even in 
designers of such calibre as the one now under 
discussion, this characteristic timidity in the matter 
of empty space. The habit of filling up blanks 
among the lettering by small decorative figures is 
by no means universally appropriate, and even in 
the Tennyson cover just referred to the ornament 
following the " and " is not only superfluous but 
cjuite irrelevant to the rest of the design. A similar 
difficult\' has occurred around the second word of 
the title Encyelopiedia Bi/diea, and one cannot but 
think that it might have been more boldly handled 
than by merely filling up the panel in which this is 
set. On the same book-cover the publishers' 
initials — .V. & C. B. —might have been made into 
a simpler monogram. As it stands, the eye seeks 
a fourth letter on the left to balance the C, but 
is only half satisfied by what may possibly be in- 
tended for the "ampus and." Obscurity of detail is 
pardonal)le in pattern, but in lettering never. This, 
if it cannot stand out quite Lgibly among the 
decoration, had better be entirely separate. 

The mention of Japanese influence in relation to 
English draughtsm.mship — an allusion in which a 
whole new world of criticism is opened up — 
suggests the name of at least one cover designer 
who has felt that influence strongly, and responded 
to it without any loss of native and original power. 
We refer to J. 1). Batten, whose work in the 
direction of colour-prints has long been familiar to 
readers of The Sa'UDio. 

The work of Edmund H. New stands equally 
alone in delicate fancy and an inspiration wholly 
English, and largely eighteenth-century, in character. 



British Bookbindino-s 

o 



Though hitherto known chiefly hv his dainty little 
architectural and landscape drawings in black-and- 
white, his book-plates, similar in subject-matter, and 
his illustrations to Isaac Walton, this artist has 
recently entered the field of cover-design, and with 
full justification in the beautiful editi(.)n of Wliites 
Sell'oi-iie, the preparation of which was among the 
many worth)' labours of the late ('.rant Allen's life ; 
and also in a pretty little garden-book. My Roses, 
by Helen Milman, which he has decorated in cloth 
of red. In work of this kind, all that is choicest 
in the eighteenth-century spirit is enshrined ; purged 
of its artificialities, and seen through a medium of 
a sincere temperament, it becomes almost genial in 
its grace and leisure, its trim and careful ease. 
Paul Woodroffe, following with more blithe and 
plavful mien in the footsteps of that somewhat 
idealistic draughtsman, also celebrates the Jane 
Austen period and that little social world which, 
though covering several later decades, belongs 
essentially to the last century's life. His design for 
I'ndc- and Prejudice is conceived in an equally 



sympathetic spirit, and with an added buoyancy of 
touch. 

It was in the delineation of this half-historic, 
half-imaginary world of tripping maidens with poke- 
lionnets and short waists, of ])astoral sweetness and 
innocent town gaiety, that women — such as Alice 
Havers and Kate Cireenawa)" — began to enter the 
paths of illustration and cover-design. That 
delightful humorist Hugh Thomson did much 
to maintain the wholesome and kindly treatment 
ol the ( leorgian age, which is the ver)" antithesis 
of the conception nurtured Ijy the more modern 
and cynical school. Amtjng the ^■ounger women 
designers Chris Hammond may be cordially recog- 
nised as having kept the more rose-coloured vision 
in her illustrations to books of this period, and 
shown a fresh and delicate talent in her covers for 
Emma and Sejtse and Sensil'i/ity. Gertrude Bradley 
stands hfmourabb- among the designers for children's 
books, and her name will be found associated not 
only with the covers, but also with the inside decora- 
tions of several delightful new children's l)Ooks. In 



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IN I'AI'EK BY HEKK WEKTHEIM. 
31 



British Bookbiiidi)is.s 



Alice B. Woodward we have an artist of more robust 
and original quality, already acknowledged in the 
front rank of women designers, and gifted, perhaps, 
"with a finer sense of composition in draughtsman- 
ship than any of her peers. Yet another young 
designer of remarkable, but wholly different, en- 
dowments remains to be mentioned. The name of 
Althea Cliles belongs properly to the neo-Celtic 



pleasure^gi\-en last Christmas by Charles Robinson's 
ChiiiTs Book of Saints. His new cover for Pierrette 
takes us frankl\- from the religious to the pagan 
world, and the sumptuous pageantry of the former 
work gives place to the humorous revels of a fairy 
pantomime. This is a very successful instance of 
a semi-pictorial decoration carried right across 
the cover, including the back, and consisting of 



school, and her cover for the /'(^t-OTj- (?/ fr: j9. Yeats three wcll-compo.sed and .satisfying parts, which, 

when seen together, form a still more complete 
and pleasing whole. Two graceful designs by 
T. H. Robinson, for dray's Elegy and Thackeray's 
Esmond, and one by W. H. Robinson for The 
Talking Thrush, nmst also be reckoned in the 
roll of praise. 

Quite other traditions govern the work of the 
" decorative impressionists " — if we may so describe 
such men as W^illiam Nicholson, J. Hassall, Cecil 
Aldin, and 1 )udley Hard)', known chiefly to the 



is highly characteristic of a sombre, mystical, and 
weird imaginative power, expressing itself through 
a talent still vagrant and diffuse. 

Some'sins of omission will doubtless be charged 
against tliis brief survey of recent cloth book-covers, 
but at this point one or two of them may find 
•correction. The example which we give of Althea 
("liles calls to mind a somewhat similar, though 
more immature, effort by Reginald Knowles in the 
cover for Alice Sargant's Master Death. In the 



lettering lies the most conspicuous weakness of this public through their posters and kindred pieces of 

design ; and poor lettering is less pardonable on a broad and pictorially " sketchy " art. Whatever 

book than poor decoration. From the ranks of success they may achieve in cover-design can only 

more mature and competent draughtsmen the be fitly associated with " books of the hour " — for 

names of the brothers Robinson also occur to us, in railway reading, for summer holidays, and every 

connection with some of the most pleasing covers kind of occasional interest, pertaining distinctively 

of recent )'ears. Everyone will remember the to journalism rather than to literature. This 



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DESlCNEIi BV MISS JESSIE KI.\G 



EXECUTED IK FOUK 



lI.OVU<S AM) col, 1) ON CLOTH BY HERR WERTHEIM 



British Bookbiua iiigs 




DESIGXEI) HV II. S. MacCOLI 



EXECUTED BY MISS E. .M. M'^'-COLL 




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hesigned by i>. s. maccoli. 

executed by miss e. m. maccoll 
34 



definition does not preclude the application of 
very genuine and admirable art to uses which 
assume the nature of advertisements, serving, 
as we haY'e already said, to attract the pur- 
chaser of the volume by a vigorous impres- 
sionistic hint of its contents. The cover of 
William Nicholson's London Types reproduces 
one of the most effective of his clever colour- 
prints (to use the phrase without too accurate 
intention) which form the suljstance of the 
book, and are aptl)- " illustrated " by the 
quatrains of ^\'. E. Henley ; one of the 
most loyal of London's sons. This cover, 
so thoroughly efficient for the purpose it is 
meant to serve, shows us perhaps the best 
that can be done with art of this unique and 
limited kind. On a smaller scale, and with 
more traces of the Japanese in composition 
and colouring, are tlie charmingly piquant 
little covers by J. Hassall for Two Little 
Lv-iciids and several other children's books, 
as eloquent of tile nursery as Nicholson's 
is rac)- of the streets. Both Cecil Aldin 
and Dudley Hardy have also brought the 
poster-style to bear upon book-covers ; the 
former with admirable taste and charm in 





w 

Q- 



British Bookbi/idiiips 




w^mimr^mmmmmsBsa aBSSBa^aaR. 



DESIGNED BY A. A. JIKliAYXI- 



EXECUllvli HV W". T. MORREI.L 



his Two Little Runaways, published last 

year. 

To pass from these to the adjoining 

field of paper covers would be beyond 

our present task, but a word may here 

be said as to the better ideals now 

coming into force for the treatment even 

of paper-bound books. It often hap[)ens 

that a deterioration in one branch of 

art — or, let us say, the degradation of a 

certain material — results in the higher 

development of the next thing beneath 

it in order of worth. The abuse of gold 

and silver leads to a renaissance in 

copper and iron. A glut in the silk 

market reacts favourably on homespuns 

and cottons. In the same way the recent 

profuse and feelingless turn-out of 

cloth covers with so little distinction of 

design, so little care for the texture itself 

as in the great bulk of machine-bound 

books, has produced the inevitable re- 
action towards paper. In America, 

especiallv, CoVer-papers are now prepared 

which, in colour, substance, and the 

surface they present to the touch, are very far Already these papers are being imitated by the 

to be preferred to cloth of the ordinar)- quality. English trade, and will probabl)' continue to improve 

until cloth in its turn shall have been 
pulled up to the same artistic level. 
'I'he increased attenti(jn given t(.) paper, 
both for the printing and binding of 
books, cannot fail to re-act well upon 
every use to whiih it is put. End- 
papers for the lining of the cover itself 
and wrappers to protect a delicate 
Ijinding, deserve a separate chapter to 
themselves, so rich are they in oppor- 
tunities for fine and even exquisite 
decoration and colouring. 

In closing a general record of efforts 
to raise the standard of l)eauty in trade 
design, one name not hitherto men- 
tioned demands a speciall)' honourable 
place. Only those in close and deep . 
sympathy with new artistic ideals know 
how much nearer they have been 
firouglit to us all by the author and 
designer of Modern Illuslration. The 
cover of this book is a worthy expres- 
sion of a spirit at once so catholic and 
eclectic, so sincere in art and so just 
in criticism, as that of the late (ileeson 
White. A retrospect, however imper- 
fect, in the closing year of this century, 

37 




Bn fish Bookbiiia ings 



of one out of the many branches of applied art 
which he so strenuously served, seems to yield a 
fit opportunity to acknowledge a debt, not only of 
appreciation^ of work accomplished, but also of the 
highest personal regard. 



B 



RITISH TOOLED BOOKBIND- 
INGS AND THEIR DESIGNERS. 
BY ESTHER WOOD. 



In the best books there is al\va)s some- 
thing of the nature of a pilgrim's scrip ; a treasured 
burden intimately borne ; a precious roll inscribed 
with the wisdom of life, and bound or tied up, as 
the simpler word expresses it, for our counsel and 
solace by the way. In this aspect, bookbinding 
becomes one of the most poetic of the arts and 
handicrafts, yielding rich opportunities for the 
expression of personal feeling, and for honouring 
by a beautiful and worthy setting the words of the 
great writers of all time. 

Machine-bound books, as we have said, fulfil 
their purpose by being temporarily serviceable, 
businesslike, and neat. Only in those that receive 



» j— "■- 




■ A'- 



i^'^ 
















SCTIIER!„\Xri HKCOR.Vnox 



DlOlCXEli BY I, EON \. SOLOX" 



'SCTHERI.AXD DECORATION 

DESIGXED BY LEOX ■\". SOLOXl 



the homage of hand-labour may the results 
be indefinitely durable, elaborate, delicate, 
and fanciful in character. As regards the 
first quality, it is not too much to demand 
that a hand-bound book shall last as long 
as the fibres that compose it. All grace 
of construction, all finely-wrought orna- 
ment, must subserve that qualitv to the 
utmost. No earthy adulteration of paper 
can be permitted between leather-covered 
boards ; the beauty of the forwarding and 
finishing must be of a kind that will stand 
constant wear : in the case of books for 
dail)' reference and companionship it may 
even approach that impregnable nature 
which a modern advertiser has quaintly 
hinted at, in announcing his wares to be 
" built for abuse." Vet here the instincts 
ot good taste correct the comparison, and 
remind us that the abuse of strength 
means the death of beauty, and that all 
fair handiw-ork claims the same just and 
temperate use that we would give to all 
" the beauty of the earth." 

.Such phrases recall once more the name 



British Bookbindings 



of William Morris, and the debt that 
bookbinding and the kindred handicrafts 
owe to him in relation to the Kelmscott 
Press. But he himself would have been 
the last to claim exclusive inspiration 
of the men who worked by his side, and 
in such craftsmen as Walter Crane, 
T. J. Cobden-Saunderson, and Douglas 
Cockerell — though immensely influenced 
by the Morris tradition — the Kelmscott 
circle has given us independent and 
original thinkers in design. Many very 
choice examples of their work have been 
on view during the past two months at 
the Arts and Crafts Exhibition, together 
with that of other bookbinders who in 
various centres have developed the 
handicraft on their own lines. 

Some of the front rank of designers, 
such as Walter Crane, and, in a different 
school, A. A. Turba3-ne, have exercised 
their talent both upon cloth-bound and 
tooled books. The covers by Walter 
Crane for Spenser's Shepheards Calender 




DESIGNED AND EXECUTED BY MISS S. T. I'RniEAUX 



•*" ■■**^~'" '- *-■.■— ■«--^*ii r- ■"iiii--""'-— -a— I I 







riESI(";XED AND EXECUl'En BY MISS S. T. I'RIDEAUX 
40 



and A Floral Faiitasy have alread)' been 
mentioned ; and among the leather bindings 
at the "Arts and Crafts" we notice the 
singularly rich and beautiful " peacock " 
cover designed by A A. Turbayne for 
Spenser's Faerie Qiieene, tooled in this 
instance by ^V. T. Morrell. I'his is an 
entirely satisfactory instance of harmony, 
both in the working out of the design itself 
and in the proportions of the book and its 
parts ; the planning and decoration of the 
bands and "between-bands" at the back is 
specially good. 

Of those who have devoted themselves 
entirely to hand-work, Douglas Cockerell 
is one of the most cultured designers and 
finished craftsmen. His bindings of Rossetti, 
Tennyson, and Thomas Hood — poets ot 
widely diverse temperaments — are models 
of restrained but highly sympathetic treat- 
ment. In the decoration of Rossetti's 
Hand and Senil, the diagonal lines have 
received undue emphasis in the photographic 
light. A closer examination shows this 
graceful pattern to be more normally 
balanced than the reproduction suggests at 




^y'^^^';*'^"^'^^'*^^^^ £^ L' J 





5 g 

^ IS. 











"^^^^m' 




British Bookbindings 




DESIGNED BY MISS JOCKEL 



EXECUTED BY THE GUILD OF WOMEN BINDERS, 



first sight. Another very beautiful example of 
handicraft is a half-binding finished with clasps, and 
with the boards left plain ; a style too rarely adopted 
to-day, and offering by its very simplicity an oppor- 
tunity for a more austere Ijut hardly less exquisite 
taste. Almost as simple is the binding of Hood's 
I'oeins, with its broadly-tooled decoration on the side. 
That this artist is eipially successful in broad and 
spacious design as in fine and intricate detail may 
be seen by comparing these two volumes with the 
Tennyson's Poems ami Ballads, where the tooling is 
exceedingly delicate and almost lacy in effect. A 
good instance of lettering carried round the border 
— a method familiar enough in old books, but not 
always easy to follow — occurs in his binding of 
Rossetti's Hand and Sonl and of jNIorris's JYofe on 
Ihe Kelmscoll Press. .-Irt and the Beaiitv of the 
Earth is suitably marked with the arms of Burslem, 
where Morris's lecture under that title was given. 
44 



To Miss S. T. Prideaux 
l)elongs the honour of 
being the first woman 
bo ok -binder in this 
country, and two examples 
of her very thoughtful, 
refined, and intelligent 
work, Ijoth in design and 
craftsmanship, are illus- 
trated here, ^^'ith a sure 
and versatile decorative 
power, she unites a fine 
feeling for material and 
a deft and efficient use of 
tools. Her own volume 
on liook binding is a 
standard history of the 
craft, and her design for 
its cover has previou.sly 
appeared in these pages. 
Of her pupils, three claim 
special mention — Miss E. 
M. McColl, Miss Adams, 
and Miss Nathan, whose 
excellent tooling is the 
delight of many con- 
noisseurs. Miss McColl, 
as is well known, has per- 
fected a tool of her own, 
and some of her brother's 
designs seem chiefly 
planned to give it exercise. 
The cover for her Omar 
Khavvam, for instance, 
gives an unpleasing 
impression of fireworks, or balls of string tossed 
wildly about — an effect altogether out of keeping 
with the spirit of so dream)- and contemplative a 
poet. This is, doubtless, an exceptional instance 
of a design which does an injustice to the talent of 
the executant, and sets one longing for some less 
clever but more judicious invention of her own. 
The design for The Golden Treasury, though still 
a little fulsome, is more orderly and restrained, and 
its adaptation to the corners of the book is very 
prettily contrived. The decoration of the Alphabets 
is well proportioned and much more pleasing, and 
the manuscript case To W. H. C. is admirably 
simple and quiet. 

The highly poetic and imaginative work of 
Mary G. Houston has already been noted in The 
Studio, and her binding of the Kelmscott Chaucer 
at the New Gallery is one of the most interesting 
exhibits of the year. Her handling of her material 



British Bookbiiidiu 



FS 



IS at once delicate and bold, and her expression of with modern feeling, while retaining a refined and 

idea and feeling by apparently simple means is of a cultured individuaiit)' in his art. Vhe Ijinding of 

rare order. ]-5v the insertion of a charmingly Sir Thomas ^^'yatt's Foems is a fairly representative 

embossed panel in the binding of T/n- Little example of a talent admirably disciplined and full 

Mermaid her work is associated with that of of sol)er grace and charm. Besides much indepen- 

another excellent craftswoman. Miss llirkenruth, dent achie\ement, this designer has been associated 

whose binding of Atalanta in Cilydou is quite witli fliarles Ricketts in his IVuitlul enterprise of 

original, and pleasant both to siglit and toucli. the \'ale Press. 



Criticism might perhaps be made of the division 
of the word CaiyJoii, and of the corner-pieces as 
having no relation to the rest of the border; also 
ot the se^■en lines which frame the centre ornament 
with the effect of a receding surface, out of keeping 
with a decoration on the flat. It is, h()We\-er, 
generallv desiralile that good executants shimld 



From (;iasgow, amid much else that comes 
worthib' from tlie hands of women designers, we 
get the ex(iuisitel\' dainl\' bookbindings that Itear 
the name ot Jessie King -familiar in these pages 
as those of Abrr)- Houston and E. M. McColl. It 
would be a pity if so distincti\"e and facile a talent 
were to spend itself in meri; ])rettiness, and not 



by such sincere endeavours, perfect themseh'es in develop more robust and versatile forms ; but the 

design, inventive faculty shown even in the slight decora- 

In J. ^\ . Zaehnsdorf we have a more mature and tion of Banna von Anna Sciuihcr should certainly 

experienced worker, who has kept closeb' in touch escape a peril of that kind. The cover for the 

.llliiiin I (in Berlin errs a 
little towards po\'erty and dis- 
cursiveness of detail, in spite 
of its general harmony and 
grace. Somewhat similar in 
st^•le, but larger and more 
virile in handling, is the 
binding by A. de Sauty for 
the Poems of A'eats. The 
design is one that grows 
upon us in charm, rather 
than making an immediate 
impression, and commends 
itself by familiarity with its 
beauty of composition and 
line. The only fault that can 
be found with it- and this 
is an essential one — is that it 
is a little too ethereal and 
thin to represent the rich and 
passionate sensuousness of 
Keats. Bevond tlw Border^ 
by Constance Karslake, is a 
happier adaptation of the 
setting to the words. The 
decoration is pleasantl)' 
simple and yet elf-like in its 
remote and elusive spirit, 
and is well carried out, except 
that a title is very rarely 
tolerable when dropped 
vertically down the back. 
Harold Karslake's binding of 
Songs for Somel'ody has a 
quaint little design duplicated 
45 




jNED and EXECUTf^rJ BY JOHN FAZAKERI.EY 



Brifisli Bookbindings 



on each side of the book. 
Another and far superior 
binding by the same crafts- 
man is ciirioush' hke that ol 
tile Keats xdlume just men- 
tinned, and is furtlier inte- 
ve^tinl; f)\" reason ot a \erv 
Lieautiful tooled and coloured 
,/r////'////'C, whicli forms a sump- 
tuous sulistitute for the end- 
pa] >er, ref)ealing on the lining 
of tho boards the essential 
decorati\"e features of the 
co\er. 

'I'he idea of these rich 
doublures, and of coloured 
tooling, has been develoiied 
with very noteworthy results 
by a Newcastle bookbinder, 
?\[r.G.'r. Bagguley, andspecia- 
lised under the name of the 
"Sutherland" I'.inding. d'he 
process has alreadx' attracted 
much criticism, and is ot 
course ojicn to that which 
scents fronr afar the danger 
of vulgarisation, whicli besets 
every highh' ornate and costly 
handicraft. But there seems 
no reason whv the a])plication 
of colour to leather sh(juld 
fie less artistic than gold, or 
whv it should not be applied, 
like gold, by tooling, as well 
as by paint, stain, or inlay. 

The method seems to demand white vellum for 
purity and delicac)- of effect, and consequently to 
be more fittingly applied to doublures than to the 
outer cover of the liook. Two tasteful designs by 
Leon \'. Solon, whii h are here reproduced, have 
been executed in this wav, and t'orm a new and 
striking addition to the binder's craft. 

^Vnother st\"le of "extra" binding consists in 
embossing the design on the leather to such a depth 
as to assume almost the nature of Ijas-relief model- 
ling. Here another danger — the temptation to 
" stuff " the cover— comes in sight, and an almost 
austere restraint is needed to save the art from 
that most fatal lapse— the simulation of an effect 
[jroper to another material. But that some quite 
legitimate and artistic bindings ina\' be carried out 
in ver\' considerable excess of the usual treatment 
ol leather co\"ers is e\'irk-nt frrim such work as that 
which we illustrate, from the hands of Miss Jockel, 
46 




DESIGNED BY JIISS JOCKEL EXECUTED BY 1 HE GUILD OF WOMEN BINDERS 



Mrs. Macdonald, and Mrs. Traquair. Idie last- 
named lady shows a powerful and fantastic imagi- 
nation in her treatment of The World at Aiietwii 
and Re/if:;io Medici, in \vhich the decoration forms 
a curious and obscure medley of synd)olism verging 
on the grotescjue. The lettering is the most satis- 
factory portion of these designs ; it is archaic, but 
congruous and clear, and its disposal round the 
f)order and along the back of the volumes har- 
monises with the large and leisurely spirit in which 
the work is approached. These are not books for 
hasty reference, but for quiet enjoyment in hours 
of ease, or contemplation in the midst of some 
devout and seemly ritual. Of similar sjiirit is the 
strongly Celtic design of Mrs. Macdonald for the 
volume l)earing the inscription Amor Laeiirymosus, 
and the poems f)f the two kuh'es known V))' the 
pseudon\'m of " JSIichael Field." Miss Jockel 
assumes a more conventional style of decorative 



A incrican Bookbindings 



pattern, fX(;cllcntl\- \vroULj;lit in Icathcv, for The 
Ballad of h\\ui Bi-dc'aJc. 1 Icr Byioii st'arcch' comes 
within this group, but it is \er)- hokHv designed 
and tooled. 'I'he Dcoira/ivc Heraldry h_\' A. de 
Saut\- is an interesting exani[ile of " uncon\-en- 
tional " convention, if that paradox ma)' ser\e to 
indicate the construction of the panel. The \ olunie 
embroidered on ]xtrchment b\- J. E. Ravaison, iVom 
a design b\- CI. M. Elbvood, deserves inclusion tor 
its unique conce[)tion, and the ^"erv delicate and 
synipatlietic touch with which an exacting task has 
been accomplished. Criticalh' considered, the 
propriety of working a harsh material \vith a \-er)- 
soft one nia\- perhaps be open to cjuestion. 

There is, howe^■er, no limit to the decoration of 
books sa\-e that which is set bv the material 
ot their co\"ers and b\" the consideration of their 
uses. It mav l:ie generalh" said that the more 
steadtastl)' the idea of use, ^A intimate conii)anion- 
ship, is kept in \"iew, the iiK.ire likeb' shall we be 
to get a lieautiful binding. To banish books 
wholly to the sphere of ornaments — this is the last 
treacherv that art can show to literature. \\'e need 
to be brought back continualK' to the more simple 
and primitive conception of a bound book- -as of 
a friend's letters tied up carefulh- and conveniently 
for reading while he is far awav. 




(Cop.:lami ir /hiy) 



CINDER-PATH TALES 
WILLIAM LINDSEY 




A 



MERICAX BOOKRIXDIXG.S. 15Y 
l-:i)\VAKI) V. STRAXCl-;. 



UESIG.XED BY JOH.V SLOAN ( Copdaild Cy- Day ) 



'I'HKclotli l)ook-cover is of liritish cjrigin. 
Fi\-e or six \ears ago it was possible for the 
Americans -looking chiefly at a few deliglitful 
exam|iles produ(;ed by Iv A. Abbe)' and Howard 
l'\le to (daim that the\- were well in advanie ol 
the pr(iducti(jns of an_\- other countrw But that is a 
l(jng peri(.)d in the de\-elopment of a new phase ot 
art ; and to-day it is more than diftii.ult for them 
to maintain the position. Whether the ialling off — 
for there is one- is due to the apath)' of iniblishers, 
or to lack of skill on the part of artists, is a (juestion 
that can hardly be discussed in an essa)' dealing with 
the general aspect of tile case. But after a careful 
review (jf the principal book-covers produced dur- 
ing the last few )'ears in the United .States, I am 
dri\-en to the coiK lusiou that no progress has lieeii 
made, that the designs, when not comparati^el)- 
feeble and ineffective, are imitative of work done 
on tliis side of the Atlantic ; and that the typical 
examples selected for the illustration of this essay 
(■(jm])are somewhat unfavourably with those m the 
reviews of similar designs by artists of liritish and 
other nationalities, which accompany it. 

47 



.-Imcricait Bookbiiidino-s 



To turn In tlic coiisidLTalidn uf some particulai" 
cases, one is compelled to reiterate a somewhat 
well-worn story, that of the wide-spread and 
curious influence of Aubrey Beardsley. The 
C(.)ver designs b)' Bertram (\. (roodhue arc often 
full of it — Ijcardsley's earlier manner of the Morte 
iTArtlinr : but of all Beardslc)''s disciples the (.me 
whii has more closel)' approached to him in method 
is WTl H. llradle\'. The binding of the Koiiuuiic 
nf Zioii Chapel is a typical example of this 
somewhat connnon tendency. Here we have 
another version of the "Avenue poster" t^'[)e of 
decoration ; with, however, not a tithe of the 
marvellous success of the latter in indicating form 
and drapery b\' judiciousl)- balanced flat masses. 
In Mr. Bradley's design the gold is over-dcjne, and 
the hard boundary lines to which it gives rise spoil 
the effect of the decidedly clever distribution of 
the upper part of the cover. There is also too 
much work on the back. The same artist's 
Lyrics of Eartli wants balance ; the serpentine 
line is rather too heavy, and not very gracefully 




DKSIG.NEU BV cocis J. KHE.yD ( Copeland &= Dav ) 

48 



distributed, although the tree is well rendered and 
just in its proper place. 

A very pleasant treatment of a conventional 
landscape is that adopted by Mr. Louis Rhead, 
in Mcadinv Grass. The use of a picture pure 
and simple for a cover, instead of some arrangement 
of ornament, is a new and dangerous device ; and 
it reijuires powers of n(j uncommon order to secure 
for it the success obtained by Mr. Rhead in this 
instance. He has preserved a perfectl)' intelligible 
natural feeling, without adopting an)' over-obtrusive 
conventions or losing the indispensable decorative 
qualit)-. He has, in fact, given to this book-cover 
the jioints of a good jjoster ; and it is as such, 
within the peculiar limitations of the circumstances, 
that we must consider this class of design. 

Another "poster-cover" is that for Cinderpath 
Tales, designed by John Sloan. In this case the 
subject is not so well managed as was Mr. Rhead's 
cover ; but, nevertheless, it forms a striking and 
appropriate advertisement for the contents of the 
book. 

From the two last specimens we may not in- 
appropriately pass to the design of F. R. Kimbrough 
for AIiss ^Ivr of J'/rghiia, for it is the only 
remaining attempt at a use of decorative landscape 
with which we have to deal on the present occasion. 
This binding depends for its success almost entirely 
upon its colour, the paper sides being [jrinted in 
black and shades of grey, while the pleasantly 
arranged cloth back is in apple-green on white. 
The result is fairly good, although the design by 
itself is not important. At the same time, it must 
be remembered how important a part the colour- 
scheme plays— or should play in these bindings. 
It is never fair to judge them entirely from a black- 
and-white reproduction. Before leaving this cover, 
the badness of a portion of the lettering must 
be noticed: the words "Miss" and "of" are 
quite inexcusable ; and all the more so in com- 
parison with the very fair spacing and writing of 
the other two words of the title. 

Mrs. John Lane has made a quaint and pleasant 
setting of simulated Dutch Tiles lor Kitwxk 
Stories, an idea especially appropriate to a series 
of tales of Old Holland. The designs are quite 
prettil)- done, and make a charming cover. 

Another allusive — if we may borrow the word 
— book -cover has been made by Margaret 
Armstrong for Love-letters of a Musician. It 
is good in (-olour, the rare subordination of 
the two lines of floral diaper gi\-ing a pleasing 
effect, but the head of St. Cecilia, done on an 
inlay of vellum m slight relief, and the border of 




> » » 







»^ 




"> 



5> 



a^/atmoma,!^ 



>■ 



*^ 




^,J i 





s 
^ 

s 




s 






BiggiaiiaaKiA^aM .M 



American Bookbindings 



gold which siiri'diinils it, sci,-ni mthci" fnrcctl ami 
o\cv-\\ VI night. This pcirtion of the decoration 
would ha\"c been Ijettev il' it had been carried out 
in coUjurs harmonisiiii;" more with those oi the 



Amonu' co\"ers of wdiich the ornament can be 
discussed with no especial reference to the contents 
of the book we illustrate )-et another, b)' Margaret 
,\rmstrong, Costume of Colonial Times. This 



ground. It is pleasant to note that this co\"er is a prett)' binding in a useful combination ot 



bears the monogram of the designer, for the im- 
portance of signed handicratt-work cannot be 
insisted on too strongh" or too frequently. We con- 
gratulate l:)oth the artist and her publishers on the 
breadth ot \iew that permits so simple and reason- 
able a piece of straight dealing. The same 
artist has [iroduced an effei'tive composition of 
poppies and pipe-stems in crimson, light green anil 
gold, on coarse white can\"as, fir Washington Ir\"ing's 
A'// J'aii Winkle. This is, one would imagine, 
a Lj;ood "saleable" co\"er, thouirh from the criti(.'al 



<;-re)' and green, with gilt lettering ; and is fitly 
reminiscent of the eighteenth centur)- in pattern. 
The same artist is also responsible for the design 
of Hoiv to know Wild Flowers, the co\-er-paj)er 
of wdiich, in green and pink, is far more satisfac- 
tory to the eye than the grey, silver and brown of 
the cloth. The ribbon encircling the stem is 
weakly treated, and the device on it by no means 
well done, 

E, S, Hollowa)' has produced an excellent 
exercise in modern ornament for A Last Century 






XI: 






point of yiew it must not be too closely considered, AlaicU though, perhaps, ^ve might have appro- 
and the lettering cries aloud for condemnation, priately classified it with those showing the 

Eeardsley influence. But that in- 
fluence is now so widely spread that, 
--,--- - • - . • short of an approach to imitation, it 

has passed almost into current use 
and should be so accepted. The 
colour in this example is good, and, 
altogether, the result is quite pleasing, 
\\\ S. Hadawa)' was perhaps a 
little aware of the same sources of 
inspiration in a design f(jr A Queen 
of Hearts. But, all the same, it 
is a good cover and excellent for 
its purpose. He is also successful, 
from the commercial point of view, 
in that for A Bad Little Girl and 
LLer Good Little L-i rather : though 
the copy before us might have 
been more effective if more brilliant 
colours had been selected. 

(Juite one of the best of the Series 
in our hands is the design by Amy 
M. Sacker for A Loyal Little Maid. 
It is graceful, not overdone, and 
well-spaced : it shows, moreover, 
that (juality of reticence wliich is 
too often lacking in the productions 
of the modern American school. 
Another design by the same artist, 
that for Old L'aris, Vol. I., brings 
us to another category entirel)'. 
Here the inspiration is drawn from 
tooled work, and this cover is a ver)- 
good exercise in the style from every 
^ __ _ „ , ■.-:.'.,_.-,.. .■1..1'V':„:j. .■J..;:v!^:.__l„i.L,"' . point of view. It is high praise to 

say that it is cjuite sound enough to 
DEsioNKD BY MAKGARET ARMS iRONc. ( G. P. PiUnaiii s Sons ) deserve to be Carried out by the 

54 




French Bookbindings 



old processes. Somewhat akin in elements and 
treatment, but altogether weaker, is Mrs. Henry 
^Vhitman',s design fur The Story of Christine 
Rochefort. Still, the result is by no means to be 
despised and the cover has distinct merit. 

T. K. Hapgood, Junr., lias been able to attain to 
a very creditable mingling of the old and the new, 
in Friend or Fortune. The introduction of the 
conventional ship at top and bottom of the trellis is 
well managed, and the back has been judiciously 
let alone in order to assist the effect. 

On the whole, we may sa)- tliat American 
designers are still producing good work, if they have 
dropped from tlieir earlier pride of place. But tire 
whole thing is reallv in the hands of the publishers. 
If ihev wiU only condescend to understand that 
one cover ma\- conceivably be better than another, 



and worth paying for accordingh', the standard will 
soon rise. For there is now n(j reason wliy the 
art of designing for cloth book-covers should not get 
its share of the best talent available among those 
artists who consider decoration seriousl)'. 



F 



RICNCH l^OOKBINDIXGS. 
OCTAVE UZANNE. 



BY 








l_t!_Lj_iJjJ..i -11 -J- 



DESIGNEn AXIJ EXECUllCr) UV RV.SV. WIEXKK 



rHi';RK ha\'e been, and there are still to 
be, written whole books devoted to the history of 
modern k'rench decorative binding, for my own 
part, I have published two volumes and a numerous 
series of articles on contemporary art Itinding and 
on the external adornment of books. 

Tile subject is far from being exhausted, how- 
ever, for we are m the 
midst of what may be 
termed an "ornamental 
mo\-ement," and the art of 
gilding (jn morocco, long 
dormant, or, at best, car- 
ried on in dull, traditional, 
vulgar fashion, had hither- 
to been a ff o r d e d no 
chance of developing side 
by side with other indus- 
tries. Now, however, ardent 
and ingenious innovators 
"V_ abound, and one cannot 

foresee any limit to the 
imagination they display, 
or to the variet)' of their 
styles and methods. \\'e 
have the reliure-tableaii, 
which reveals a symbolic, 
symphonic, emblematic 
spirit ; and also the reliiire 
seulptee en bas-reliefs, 
modelled on leather and 
relieved by colour —knick- 
knack tjinding, in a word, 
which, as a rule, must be 
kept under glass, and is in 
no way suitable for work 
whose place is on the 
library shelves. 

This was the form in 
which binding took its 
place some eight years ago 
in the "Objets d'art " 
section of the Champ de 
Mars, thanks to the 
57 



t«i 



IV 



FreucJi Bookbindings 




DESIGNED AND EXECUTED BY A. LEl'feKE 

exertions of two distinguished artists, MM. Victor 
Prouve and Camille Martin, who at that time had, 
as executive coHaborator, M. Rene Wiener, of 
Nancy. At first the pubhe was surprised and 
puzzled, while the professional book gilders pro- 
tested indignantly that this was not real binding 
at all but a sham, clumsily contrived, and lacking in 
all the essentials requisite for the proper handling 
of morocco and the employment of high-class 
gilding. From their own fastidious point of view 
these professional workers, imbued with the mar- 
vellous principles of the brothers Eve, Le C.ascon, 
Derome, Bozerian, Du Seuil and Thouvenin, were 
certainly right, for to their eyes a profane, new- 
fangled, revolutionary style was invading the 
sacred temple wherein, for centuries past, there 
had accumulated all the master-pieces of good 
taste, exciuisite in style, perfect in technique and 
execution. All that was apparent to them was a 
gross evidence of decadence, with none of the 
attributes which had constituted the glory of their 
craft : good cutting, elegant mounting, a thorough 
mastery of the roi^iiiire, the delicate work with the 
pe/its fers, the beauty of the gold, the difficult 
line work — all the subtle details, in fact, which 
showed the cunning hand of the skilled workman 
trained in the old methods. Instead, they saw 
with dismay a strange new style, aiming solely at 
58 



effect, ignoring finish, caring nought for minute 
detail, regarding onl\' the general aspect, the 
c/istiii/'/e. All the old formuke were cast to the 
winds bv the inno\-ators, or else adapted beyond 
recognition. 

d'o all these objections and criticisms the new- 
comers had the not illogical answer: "We are 
artists, not trade binders. \\c are bent on enlarg- 
ing the scope of a superannuated art, for ever con- 
fined within certain narrow limits. A\'e bring new 
formuke, we aim at expressive ornamentation with 
boundless possibilities, and with our ar/is/ic hmdnv^ 
we give new life to a craft which hitherto had been 
bound up in technical restrictions, and had con- 
sequently remained very primitive in its forms, "\^'e 
know nothing of the industrial side of the question ; 
but clever craftsmen are not lacking, and when we 
join forces with them they will devote their practi- 
cal knowledge, their precision and their finish to 
the carr\-ing out of our pureh" o^sthetic and imagina- 
tive work. When the)' need mechanical assistance 
in their labours, painters and sculptors and artists 
generally know where to obtain it, and how to 
employ it. A\'liy should it not be the same with 
regard to book-binding ? ^\'hen we have succeeded 
in convincing the public, and gradually made clear 
and established our principles of decorative beauty, 
we shall find in the binder's workshop all that is 




DESIGNED AND EXECUTED BY P. RUBAN 



French BookbiiidiiiiTs 





ntSICNKD AMI KXKi riKl, v.\ ( l[\KLl;s MEI-\I 



■■M.ll \Mi K\E( rTKIl BY rllARI.ES Mm 




JJESICXEl) AND EXECUTKIJ IJY I'. KIIBAN 




llEhlCNEIi AMI EXl'Ji; lEl) 1!\' V . KEHAX 



59 



French Bookbindings 




DEblGMiD AM) EXECUTED BY RENE WIENER 



rc'iuired tu curb nur cxul)cran('es, Ijy WDvking on 
lines at once more scientific and more severe." 

About tlie )-ear i<S8o there existed but one 
binder reall\- anxious for inno\'ation, independent 
in idea, moreo\"er, and imljued witli the true 
decorative spirit -liis name was Aniand. Among 
those who ga\"e liim encouragement to the best 
of their abih't)- were Pliihppe Burtv, (.'harles 
Asseh'neau, Edmond de (ioncourt, I'aul Arnauldet, 
and tile writer ; liut tlie solemn, must)' old biblio- 
pliiles shimnei.1 him like tlie plague, while he was 
neglected b)" his colleagues, and Ijlackdialled 1:>\' 
tile judges wlien entering for the binding com- 
petition. Now tliat success lias crcnvned these 
daring fieginnings it is well to remember tlie name 
of Amand, but kueb' deceased, f)r he was the 
precursor of tlie artistdiinders of tlie jiresent day. 

The decorative evolution of the book in its 
])ol\'chrome illustrated cover, together \vitli a 
general tendenc\- towards colour, symbolism and 
boldness of design, naturalh' began to have an 
uillueiice on an art hitherto more restrained, more 
classic, more subject to the limitations of the 
ornamental binder; thus the progressive movement, 
aided Ijy the skilful technique (jf the old binders, 
ra])idl\' gathered torce. 

'Idle adherents of symbolism and of the sym- 
plionic pob'chronie mosaic st)le exhibited also in 
the " Objets d'art " Sections, side b)' side with 
60 



Martin and Prove and \\'iener, some at the Cham]) 
de Mars, others at the Chanips-Elysees. There they 
were by no means unrecognised, and soon found 
themselves reinforced by a number of amateurs 
and independent spirits, such as Mnie. W'aldeck- 
Rcjusseau, Mme. Antoinette A^allgren, and that 
skilful draughtsman, Eugene Belville, together with 
several ladies who adopted the external adornment 
of books as a new emplo)TOent for their time and 

taste. 

.Since then the two Salons have opened their 
doors to the most eminent artist-binders of the day. 
Let me dwell on S(jme of tliese e.xperinients— many 
of which have arrived at full realisation— and 
endeavour to pick out a few of the best among 
these courageous artists. 

A distinct place must be reserved for CaniiUe 
Martin, untimely removed, alas, before he could 
complete to his entire satisfaction a long career full 
of research, and poetry, and fancy. His bindings, 
wliich were admirabh' composed, and at times 
attained high-art effects, found conipletest realisation 
in morocco colourings, without the aid of gold to 
set them oft. 

Caniille Martin's experiments were not wasted. 




.\M) EXECUIEl) IIV 



French Bookbindings 




liK-n.NEIi AMI EXElTTED BV RKXE WIENER 




DESIGNED AND EXECUTED BY KI.NE WIENER 



61 



French Bookbindiiiiys 




IlEblC.NEl) AND EXECUTED BY A. CUZIN 



M. \'iclur Prouvc, his tViciid and collaborator, has 
carried on the tradition, and preserved it with all 
honour. Painter, scul])t(ir, etcher, leather-worker, 
M. Prouve, who seems better endowed than an\' 
other artist of the da\' with genius of ornamenta- 
tion, lost for so long', had done much remarkable 
work. 'I'he Fciiiinc an J'aaii which adorned the 
co\"er of L'Histoirc dc i'art (iiwratif, hx Arsene 
Alexandre, together with the designs for the 
Syin/id/ish'S, Sa/amiiiln\ Lc paradis perdu, and /c 
[apnii, by Cionse, are wholly his. He also had a 
share in the Livrc d'or, [iresented by Lorraine to 
the liniperor of Russia. 

It was under the auspices of MM. Prouve and 
Martin that INL Rene Wiener made his first ap- 
pearance at the SaU^r du Champ cle Mars, in 
i8i),:;. Since that date his success has been great 
each )"ear, whether working alone or in collaboration. 
After labouring indepentlently for some time 
J\L ^\'iener made an open re([uest for designs for 
bindings to several " modernist " artists, among 
them iMAL (aiingot, Tcjulcjuse-Lautrec, ('ie(jrges 
Auriol, Leon Rudnicki, H. Christiansen, and 
Georges de Leure, who agreed that he should 
interpret their works in leather. 

'Po keep together in a group the impressionist 
binders -" the Claude Monets, the Uegas and the 
62 



'I'oulouse-Lautrecs of Bibliograiihy," -let me now 
draw attention to the leather work done by !NLiie. 
^\'aldeck-Rousseau, who three years ago delighted 
us with her chestnut leaves raised in green and 
red on a ground of citron-coloured morocco. Her 
decorative composition for Ldmond Haraucourt's 
Effort and the symbolical figure she designed 
for the cover of PJaudelaire's Flciirs du Mai 
also remain fi'esh in our niemor)'. Mme. 
'Phaulow, wife of the painter, and I\Liie. Jeanne 
Rollince ha\'e also achieved good results, while 
Mme. Antoinette Vallgren is the producer of a 
delightful has-rcUcf on repousse leather for (ieorges 
Hugo's Sou-re/iirs d'un matelot and also of 
a decorative design to be engraved and stamped 
on leather for the binding of James Tissot's La 
Vie de Xotre Seii^ueur [esus C/ir/s/. 

Mme. Antoinette A'allgren is assurecily in the 
Iront rank of these women-artists. Herself the 
wife of the celebrated Finnish sculptor, she 
brings to bear on her own work incom- 
parable delicacy and distinction. 'Phis year she 
exhibited at the Salon du Champ de Mars a 
co\'er for Pdaubert's Ze Saint-Julieu FHospitalier, 
a low-relief on leather, delightfully treated ; and 
also a scene of women weeping at the sound 
of chimes, lor Jean Lorrain's Sensations et 



Frciicli Bookbindings 



Souvenirs, which is one of tlu- nidst interesting 
thing in repousse leather tliat has recenth' been 
exhibited. 

M. Pierre Roelre, ever in tiuest of something 
novel in applied art for e\•eryda^■ purposes, has 
devoted liimself for the past six or se\en \-ears to 
what he terms reliures ix'/nu/isees in which 
the effects are obtained through translucent, 
coloured surfaces, somewhat in the stvle of the 
old painted enamels, or 7<erres ei;-/i>m/ses to lie 
seen at the Louvre, in the (;aller\- of Apnllo. 'I'his 
ingenious itlea has pro\"ed successt'ul, anil is lience- 
forward at the disposal of all hinders. 

A word must also be saiti for a new leather 
worker, an artist of originalit\- and researeh, 
M. Rudaux, who has not \et exhibited at our 
Salons, but for whom a great success is in store 
when he sliall decide to displa\' his wurk before 




DESIGNED AND EXFXI-TED BY MARIUS MICHEL 



the bibliophiles and artists of Paris. Alread)' we 
have had IVom him a binding for \'illon's work, 
inspired b\' the famous Ballade des J'e/alus, the 
composition and delicate, ])recise exeiaition of 
which are worth)' of all praise. 

MM. Marius Michel and Charles Meunier bring 
us hack once more to " liinder's binding," to the 
real professional work, in which the ornamentation 
forms part of the actual book, in which e\erything 
is solidl)', skilfiill)' sewn, mounted and finished 
according to the laws and traditions of the trade. 
^\'e are no longer called ujjon simply to admire a 
decorative scheme on a leather-co\-ered eardljoard 
panel ; here we know that the panel is bound last 
to the \-olume, the cording genuine, and everything 
done in the most careful and workmanlike manner, 
to form one concrete and substantial whole. 

M. Marius Michel has receiith' produced speci- 
mens of art liindmg, excellent 
in taste, and terhnically most 
creditable. b'or several \'ears 
past he has fjcen making 
stead\- progress. 'Vwo \'ears 
ago his Saldii surprised and 
delighted us li\' the harmonic 
delicae\- of his mosaics, the 
tlistinction of his serlissuj-es i) 
fnnd, and the splendour ol 
his gilding. His bindings 
Were indeed iiuite extraordi- 
nar\' in point of exe(aition. 

Of M. Charles Meunier it 
has again and again been my 
])ri\-ilege to speak in the terms 
f)f admiration he deserves. 
He is the model binder of 
the period, the progressist who 
e\-er seems to pursue a medium 
course, iiiidwaN' between the 
radicals of bookbinding on 
the Idle side and the o])por- 
tunists on the other. It is 
now ten \ears since he started 
working as relieur-deeoralei/r, 
and notwithstanding his fer- 
tilitv, which might \\ell ha\-e 
suggested some remissi(jn of 
labour, he still perseveres in 
his art, ever improving, in- 
\'enting, scheming to do some- 
thing new. The various bind- 
ings for the Traphees of 
de Hercdia and the J.ys 
Houge of Anatole France are 

63 



FreucJi Bookbiuding;s 



works of which the owners nia)' well be proud, 
for the)' are and will remain among the most 
perfect specimens of reliure mosaitjiifc produced 
at this end of the century. 

Next we come to Petrus Ruban, a true profes- 
sional, who achieves a triumph every year at the 
Artistes Francais. Ruban, Marius Michel and 
Meunier form the triumvirate standing unchallenged 
at the head of the modern art-binding movement. 
Ruban seeks and discovers his ornamental motifs 
in all directions -in the world of flowers, in archi- 
tecture, m Japanese art, or in ornithology. He 
is an eclectic binder, with no fixed theories, 
welcoming advice when he can see its force, and, 
once convinced, working with marvellous natural 
capacity. A\*ith regard to the disposition of the 
decoration in his mosaics, Ruban, who at the 
outset was somewhat garish, has now become 
rjuite master of himself and of his method. 

Mercier, the legitimate successor of Cuzin in the 
art of costly and elaborate binding and gilding, is 
an artist of note, but lacking hitherto in originality. 
It will suffice to note the admirable covers de- 
signed by him for the Tro/>Iices of de Heredia, 
and Bourget's Fasfe/s. 



Mention must also be made of Rapartier, R. 
Petit, Leon Gruel and A. Lepere, the wood 
engraver, who is also a marvellous chaser of 
leather. These complete a rapidly - compiled 
catalogue of the best binders and decorators of 
skin in France to-day. 

When one looks back, and remembers the 
parlous state of the bookbinder's art only twenty 
years ago, there is ample cause for satisfaction in 
the evidence abundantly manifest in France to- 
day of a strong renovating spirit. Maybe the 
fanciful side of the art has been somewhat exag- 
gerated. There was lately a tendency perhaps to 
make the leather and the morocco express more 
than they were designed to express. Put extrava- 
gances are often necessary in art, for they reveal 
the limits beyond which one may not go, save at 
the risk of becoming ridiculous. At the present 
moment decorative binding has become more 
restrained and sober, while the tableau de 
i(enre style shows signs of disappearing. Such, 
however, is far from being the case with leather, 
whether modelled, chased or repousse. Many 
surprises are in store with regard to this process, 
which is attracting the attention of some of our 




DESIGNED .'.XD EXECUTED BY RENE WIENER 
64 



French Bookbiiidiiicrs 




IiESIOXEli BY c;. PE FEl 



KXElTTEIi BY REXli WIENER 




IlESIGN'ED A.ND EXECUTED BY RENE WIEXER 



Dutch Bookbindings 



most delicate sculptors. Ccrtainh' the 20th cen- 
tury opens full of ]ironiise for the binder's art. 
Alreadv I could mentinn se\eral remarkable mani- 
festations of the new st\le of exterior decoration 
lor books wliich will lu seen at next N'ear's 
Exhibition. 

0CT.\\'E Uz.WXE. 



D 



UTCH BOOKBINDINGS. 
GABRIEL MOUREY. 



BY 




DESIGNED AND EXECUrED HV I. A. EOEBER 




DESIGNED AND EXECUTED BY J. A. LOEBER 
66 



In a country like Holland, where 
for centuries past Applied :\rt, based on the 
innermost life of the people, lias manifested itself 
in so nian\- frank and delightful forms, it is curious 
to note the development 
of that modern Decora- 
tive Movement which is 
now stirring all Europe ; 
curious, too, to watch the 
birth and growth of the 
new manner of seeing 
and u n d e r s t a n d i n g, 
among the young artists 
who are striving so 
bravely to obtain recog- 
nition of their aims and 
ideas. 

The Decorative Art 
Movement in Holland 
is already responsible for 
much interesting "work, 
and, thanks to architects 
such as M. Berlag, to 
decorators like M^E 
Nieuwenhuis, der Kin- 
deren, Dijsselhof, Eion 
('achet, and Duco-Crop 
— to name but a few 
among many whose 
works deserve all praise 
— there can be no doubt 
that the Netherlands will 
soon figure prominently 
in this universal renais- 
sance. 

"The Art of the 
Book " — that is, the art 
of ornamenting books, 
both as regards the in- 
terior and the exterior — 
is making rapid progress 
there. Publishers of the 
stamp of MAI. Scheltema 
and Ho)'tema, and C. M. 
A'an Gogh, of Amster- 
dam, P. (louda Quint, 
of .\rnheim, and Klein- 
mann, of Haarlem, have 
boldly started on the 
new road. Among the 
productions bearing the 



DittcJi Bookbiiidiiiiys 




DESIGNED AND EXECUTED BY J. A. LOEHER 













' •- 










ffli* i.iniiiiii 






■vwvn^iH 










-v* * "i 



af»aaa**i«S!«ss«'«'*^S?'^:%SedM«»^ 



DESIGNED AND EXECriErj KV |. 




impress of the new movement must be noted several 
book-cover.s Ijv M. Dijsselhof for The Claims of 
Decorative Art; also those of M. \'el(lheer for 
Uoor// eii Bceld : of M. IJazel for De Architect: 
of M. Nieuwenhuis, for his Calendars, and lor 
inida van Si/v/e/ihinx : of M. Hart-Xihbrij, for 
Le Chariot de Terre Cuite : of M. Th. Molkenhoer, 
for the works of \''i(jlletde-nuc, not forgetting 
the delightfull)' modern albums Ij)' M. T. van 
Hoytema. 

As regards bindings, however, the output has 



been very slight, es[)ecially 
in regard to the best and 
most thoughllul sort of 
\\()rk, which de|)arts from 
the beaten tra(d-; without 
rushing into extremes of 
imagination and fanc'iful- 
ness. 

In this connection I 
have come across nothing 
in Holland more interest- 
ing than the bindings of 
the )'i)ung Lcyden artist, 
j. A. Loeljer. 'J'he '^kiw 
s[)ecimens reproduced here 
show how strictl)' logical, 
how scrupulousl)' ap]jro- 
priate, is his treatment of 
his material. It will Ije 
seen that he is careful, 
above all things, to show 
the \cr\' structure of his 
binding- that is to sa\', its 
essential parts. From the 
ver)- threads or twists which 
attach the fiack of the book 
and bind the leaves he 
evolves a decorative jjur- 
pose at once novel and 
intelligent. Instead of 

hiding them he leaves 
them exposed on the sur- 
face of the cover, utilising 
them to form a simple 
decoration in which their 
object is never disguised. 
He cuts the leather in 
order to. acconmiodate 
these slender thongs, which 
go backwards and forwards 
across the <;ardboar(.l, thus 
adding to the solidity 
cjf the whole \'olume. 
Nothing could be more simple and reasonable, 
and nothing more charming. According to m)' 
own taste, at least, this is a thousand times 
jjreferalile to the complicated combinations which 
many people regard as the perfection of the book- 
binder's art. 

Mr. Loeber lias not confined himself to leather 
bindings, but has essayed a very novel method 
«-ith cloth, which he decorates, not with irons 
but with the stencil, the ornamentation being 
simple and well designed, as the process demands. 

67 



Belgian Bookbindings 



Sometimes he obtains the most charming and 
unexpected effects, which are quite unHke those of 
the ordinary cloth bindings. The truth is, he is 
constantl)' endeavouring — as becomes the true 
decorative artist — to devise novel combinations, 
novel not so much in point of material, which is 
open to everybody, as in regard to the harmony 
and the sense of proportion on which they are 
based. 

As I have already said, these seem to me to be 
the most interesting and the most successful 
attempts in the way of modern bookbinding that 
Holland has produced. Let the reader study 
closely the reproductions now given, and compare 
them with the work which proceeds from other 
countries where the general movement in the 
direction of decorative art is even stronger and 
more intense. He will admit, I am fain to believe, 
that they stand the test of comparison with the 
l)est productions from any other art centre. 



B 



ELGIAN BOOKBINDING. BY 
FERNAND KHNOPFF. 



At the Antwerp Exhibition of 1885, 
the important exhibits of Josse Schavye were 
summed up in the catalogue in the following 
terms : " Specimens of binding illustrative of the 







IUCSIi-rXEl) AM) EXECCTEIl KY I. A. EOEllER 

68 










, l^^-«{-»Z!fMg£ ^cv_ .5>-'""f^^J 



liESIGXEIl BY H. OTTE\"AERE EXECUTEn BY RYCKERS 



various epochs of development of the art from the 
beginning of the Christian era to the present day, 
including varnished boards, bindings in filigree, 
with antique applique work in ivory and uncut 
gems and what are known as catenati, the covers 
of alms boxes, purses, and jewel cases, dating from 
the sixteenth century, ladies' reticules, etc." 

The delegate appointed to report on the Exhibi- 
tion pronounced a regular eulogy on this quaint 
assortment of articles, winding up in the following 
terms : " The reproductions of ancient bindings 
by Josse Schavye are full of character and in 
admirable condition ; it is, however, very much to 
be regretted that he did not see fit to complete the 
series with examples of modern and contemporary 
bindings." 

Amongst the few pupils who learnt their art in 
the atelier of Josse Schavye who have gained distinc- 
tion, the best known are Messrs. Desamblanx and 
Waekesser, who have recently won very favourable 
notice from those most competent to judge, for the 
excellence of their workmanship. The elder 
Schavye, father of Josse, was also rather reluctant 
to receive pupils, and very few binders of note 
learned their trade, or rather their profession, in his 
atelier. To atone for this, however, he exercised a 
very considerable indirect influence on the binding 
of his day, setting, moreover, a most wholesome 



Bc/giaii Bookbi/idi/igs 



exami>lu nf a life (1c\(")tcd to art and to good wijrks. 
In fart nianv \-oting craftsmen owed much to his 
counsels, for lie was e\'er ready to gi^'e them his 
adxice witlioiit fee or reward. He himseh' knew 
from exi)crience how \-ahiable such help was, for in 
his own young da\'s the welhknown collector of 
books, iM. 1 )e longhe of Brussels, aideci him 
greatly V)\' his enct)uragement and timely counsels. 
From 1S45- 1850 1\ C. Schavye was constantly 
with M. I )e Jonghe, for whom, to the last, he had 
a great affection and respect. 

Another noted bmcler contemporary with the 
elder Schavvc was Charles 1 )uCiuesne, whose beau- 
tiful book co\-ers in pigskin are amongst the treasures \ 
of the librar)' at (dient, and he too found a faithful 
friend and [jatron in the learned and warmdiearted 
biblio])hile, M. 1''. \itn der Haeghen, of ("ihent, 
who e.xtentled to him the same kuid of help and 
encouragement as M. De Jonghe had given to the 
more celebrated Schavve. The first half of the 
nineteenth centur\- was indeed rich in patrons wdio 
took a direct and intelligent interest in the de\'elop- 
ment of bookbinding, looking upon it as an art, 
not what it so often becomes in these later days 
of keen competition and over-production, a mere 
mechanical craft. 

Speaking at the " Conference du Livre," held at 




nICSlC.NEl) IIV 11. ol-nCXAKKK 



EXECl'TED r.V M. I,-\COB 




DESIGNED AND EXECUTED BY G. RYCKERS 
70 



Antwerp in 1890, the Minister, J. van den Pcere- 
booni, whose competence as a judge of book- 
binding is recognised by all, made the following 
well-founded remarks : — 

" The progress of the art of binding in Belgium 
has of late made rapid strides. P. C. Schavye 
had a pupil who surpassed his master. This pupil 
was Claessens, of Pirussels, side by side with whom 
I worked m)'self for no less than ten years. I have 
got him to bind some of the \-olumes of my collec- 
tion of books, notal)h' m\' ijicuitahula. I said to 
him, do not let us attempt to do better than the 
old masters of Ijinding ; let us be content with 
imitating them. This was what he did. He 
imitated (jld bindings: in a manner which can only 
be called brilliant, and his work has been exhibited 
at (Ihent, at I'aris, and at Brussels. Although, per- 
haps, his bindings in morocco leather have not yet 
attained to the perfection of those produced by 
Parisian craftsmen, they run them -^'erv close. In 
fact he takes quite the highest rank in his reproduc- 
tions of fifteenth-century bindings, not only in the 
opinion of his fellow countrymen, but of foreigners. 
I have seen bindings executed by the most skilled 
craftsmen in Paris and elsewhere, by no means 
superior in richness of design to those of Claessens." 



Belgian Bookbindings 

In 1S50 Claesst-ns founded a binding atelier, sum which \vould he likel)' to he given for it would 

and soon after that Oliver and Van Trigt started he from 500 to 1,000 francs. 

the libraries bearing their names, forming with the For some thirty years Cklessens has been engaged 

Studio ot Claessens a kind ot triumvirate, under in the producition of an important series of works 

the auspices of which grew up man)' of the most of the highest artistic value, which are greatly 

unique collections of books of tlie present eentur\', appreciated by connoisseurs who had previfjusly 



now, alas I most of them disi.iersed. Amongst the 
libraries which owed their initiatiw to flaessens, 
01i\"er, and \"an Trigt, were those of the Puke of 
Arenberg and of Messrs. Capron, lvoftoe(J, \'e\dt, 
Vergauwcn, Rene della Faille, Thomas \\ estwood, 
the Che\'alier \"an Ha\re, M. wni den I'eerehoom, 
and man\- others. It was, in fact, a golden time 
for collectors of ancient books antl of illustrated 
works dating from the eighteenth centur\". To give 
but one instance of th,e prices realised, the so-called 
Patissicf FraiiCius fetched 4.500 francs at the 
Capron sale, held on the prennses ot the Ijookseller 
Oliver mentioned above, whereas now the highest 




L.ES1CNEU AM> KXECUTEU IIV IjEsWnil.ANX .\ M . W.XHKKssKl 



preferred to go t(j French craftsmen for their 
bindings. 

In j.SySthe elder Claessens was joined b)' his 
son P. ( 'laessens, who pro\"ed a woith\' c(jadjutor 
of his lather, and praise could certainly go no 
further. 'J'ogether the\' worked for many happy 
\ears, gi\iiig special attention to the reproduc- 
tion ol ancient designs, but at the same time 
ne\'er failing to keep their eyes open to the 
tendencies ot the da\', for the\' recognised that 
the art of binding, like e\"er\- other dee(jrati\e 
art, was ai)proa<liing a new de|>arture with 
which it beho\"ed ever\' intelligent craftsman 
to be ni touch. 

Man\' Well-known and most 
successful artists were much 
attracted l)v the work ot the 
elder Claessens, and he in- 
terested them greatly in his 
methods. Amongst them may 
lie especialh' mentioned that 
most modern ol modern 
decorators, H. Van de Velde, 
who made many clever and 
beautiful binding designs for 
the master craftsmen, some of 
which have alread}' been de- 
scribed in Thic Studio for 
r)ctober, 1896. Other artists 
of note who have worked tor 
or with (."laessens are Oi. Lem- 
men, who made many good 
drawings for re[)roduction by 
him and the painter, O. Cop- 
pens, for whom the great 
binder has executed various 
bindings after (jriginal mosaic 
designs b\' the artist himself 

At the "Conference du 
Livre " of 1890, already re- 
ferred to, M. ]'. Claessens, 
in conjunction with M. J. 
Destree, ex[)ressed an earnest 
desire to witness tiie fountla- 
tion at lirussels of a school 
of binding conducled on the 
same lines as the ateliers 
alread)- in existence in I'aris, 

71 



Bclgia/i Bookbi//di//gs 



LDinlon, l-iciiiii, and ( 'diicnhaycii. With a \"icw t(.) 
the rcali.satidii of this most wortln' aniljition, the 
wcH-kmiw n liiiidcr yiM-'s up ah liis L'\"cnin!j;s to an 
institution ol' the kind which is still in its ini'anc)', 
and is, of coiu'sc, set ahout h\' ah the difheulties 
inseparable h'oni the inauguration of any enter- 
prise. From It, ho\ve\"er, great things are hoped, 
alike for the leaders and the eraftsmen of what 
ma)' now he justh' called the profession of 
biiKhng. 

It is onh' fair to aekl in this connection that the 
([Uestion ot the giving of competent instruction to 
binders has long occupiied the attention of another 
great Belgian master of the craft, the well-known 
E. ISosquet, who won uni\-ersal recognition at the 
Industrial J'^xhihition of JSrussels in 1S74, and at 
that of Paris in iSyiS, b\- the \er\" fine examples 
shown by him of bindings ])roduced in his atelier. 
He devoteil himself especialh' to the technical 




DESICXEU nv !•. CLAESSE.X'S 

72 



difficulties connected \\'ith the j)roduction of good 
work which are, as every ])ractical binder knows, 
man\- and great, though few outsiders, who onh- 
see the decorati\'e designs shown under glass at 
exhibitions, realise what skill is needed to produce 
a thoroughly satisfactory |)iece of work. M. \\. 
Bosquet's two books L' Art dii Relieiir, published 
bv the l'(.)lytechnic Librar)', and La Reliiiri\ 
with the sub-title Jitiide (fun Praticien sur Fart 
du rcliciii- d<irei/i\ are ranked h\ specialists as the 
\e-r)- best w(jrks of the kind which have hitherto 
been issued. 

The son of this ac(;omplislied scholar and crafts- 
man, AT. P. Bosquet, has, since 1SS5, successfully 
carried on the atelier founded b\' his father, 
and at the Antwerp Exhibition of 1885, and that of 
Ih'ussels of 1S97, it was \'er\' well re])resentecl b\' 
some twent\- volumes in di\erse styles, the beau- 
tiful designs and fine wcjrkmanship of which were 

most justh' admired. 
Amongst other fine 
designs M. P. pjosiiuet 
has produced man\' 
bindings with what is 
technicall)' known as 
pyrographic ornamen- 
tation, notably those of 
the cover of La Dame 
aiix Camtlias and of 
the album presented to 
M. .Seguin, the popular 
actor of the part of 
Wotan in the " \\'al- 
kiire" at the Theatre 
de la Monnaie. 

^Vnother ver)' cele- 
brated binder of Bel- 
gian nationalit\' is 1 )e- 
samblanx, who bound 
the beautiful edition ot 
" Salam m bo " illus- 
trated b\' the equalh' 
well-known artist Tit/,, 
which is now in the fine 
library of the American 
1 )eEorest, and is alluded 
to in terms of the highest 
praise b\' H. Bene ilu 
Bois in his\'er\' interest- 
ing and brightly written 
book, Fouy Private 
Lilirarit'S of .^ '<'?(' ] 'art;. 
As will be readily 
KxiicuTEi) i;v I,. ei.AiissK.xs, I'ERE remarked in the illus- 



Bc/gia/i Bookbiiidi 



//gs 




skill i))' l-i)'ckcrs fcjr 
.M. J. Claretic, the 
I'Vench flag, wurkcd 
in mosaics, forming 
the design, after a 
drawing h)- the painter 
H. Ottevaere, who 
made the cartocjns for 
twf) volumes (jf the 
works of the eccentric 
genius Kdgar Aflan 
\'ou, which were bound 
in morocccj leather, 
with mosaic designs in 
relief The painter 
himself executed the 
l\\Tographic W(jrk, in 
which the to(jling is 
done with a heated 
tool to (]uote his own 
words : " with an elec- 
tric ])encil connected 
b\' a copper wire with 
a battery, and insulated 
by means of a glass 
tube." A later cartoon 
i)\- ()tte\-aere for the 
binding of Blancln\ 
Claire ct Caiiditii\ 
illustrated b\' Am. 
L)'nen, was recentl)' 
exei.'Uted b\' jacol). An 
illustration of this 
s( )mewhat remarkable 
bin ding appears on p. 70. 
trations accompan_\ ing this article, what .s])eciall\' In concluding this hastil}' written irsiiine of 

distinguishes the work of these tw(; skilled craftsmen the ])rinci])al art binders of lielgium, 1 must 
is the appropriatenesN of the design to the book to ipiote \-et another senteni'e froiu the speech of 
which the binding belongs, the ingenuit\- of the the Minister A'an der l'eereb(jom at the Antwerp 
ornamentation, and what ma)' perhaps lie cha- "Conference du Livre," alread)' more than once 
racterised as a well-chosen SN'mbolism. referred to. "Hitherto," he said, "we ha\e had 

I he Belgian house known as that of ( i. R)'ckers absoluteb' no lii.stor\' of the binding of our country. 
IS now managed lj\' the son of the founder, and it I hope that one of Nou m)\\ present iiia\' some 



DEMCXEIi l:V H. \A.\ hE \-El.LiE 



EXECCIEI) IIV 



'L.\E,sSE.\s, 



has been very well represented at the various exhi- 
bitions which have taken [jlace between 1880 and 
1897, the interesting work shown winning man)' 
medals. Some of the designs were of a \"er\' com- 
plicated character, and the workmanship was in 
ever)' case (jf a high class, 'i'o give but a few 
exani])les : the binding of Levy's Histi>yy nj 
Paintin;,^ on G/ass of some of Octave Uzanne's 
charming volumes, and of La Dame aiix 
Cainelias were especiall)' noteworth)'. One cop)' deplores. 
of La F?-ontiere was actually bound in iiuman 



day write such a histor\'. Perhaps, wlieii I am 
nnself free from the multifarious duties now 
occup)'ing me, I may accoiuplish a brief account 
of it." 

As a luatter of fact, that time has alread)' come, 
for M. \'an der I'eereboom is now no longer so 
overworked, and I heartily supplement his h(jpe 
with ni)' own that he ma\' be induced at no 
distant date to supply the want he so justl)' 



I'likiMAND IvHNOI'fF. 

73 



D 



Danish Bookbindings 



AXISH BOOKBINDING. 
GEORG BROCHNER. 



BY 



Oh' late years there has been what 
virtually aniounts to a renaissance in the craft 
of bookbinding in Denmark. Apart from a re- 
vi\'al of some of the best traditions of the past, 



ccjnnection, and it is somewhat surprising that 
we do not find even the faintest trace of that 
weakness for a rather vulgar overloading 
which is so much in vogue in a neighbouring 
country. 

A peculiar form of binding, or rather cover, now 
in general use in Denmark is a paper cover, 



entirel)- new and genuinel)' artistic influences ha\-e especialh' designed for each individual book and 

been brought to bear u])on the whole question, forming part and ])ortion of the same. Cob 

and the Danes are to be much congratulated upon lectors nearl)' alwa\'s retain these particular covers 

the vast strides which everything connected with on their volumes. The)' are often striking and 

the binding of books has made during the latter highl)- ornamental, and act as a sort of minia- 

pan of the present decade. Designers of rare and ture ])Oster, making the bookseller's window at- 

original talent have worked hand in hand with tracti\-e in more than one sense of the word. I 

able and enthusiastic craftsmen, and the excellent am not sure whether 1 )emark has not in a way 

results of this co-operation has alread\' more than originated this pretty idea — at the same time 

once l)een commented upon in Thk S'l'Uiiio. artistic and inexpensive- -but in any case Danish 

'Die new movement is characterized, not only b\' covers of this description can vie with thcjse of any 

freedom and originality of design, hut also h\ the other countr\'. As a rule, the nature of the orna- 

introduction of a decorative yariet)' in colour, mentation of the cover is in close harmony with 

hitherto unknown, which has, perhaps, more the contents of the book, and it is the exception, 

especially benefitted the less elaborate and costly that it is of a purely decorative nature, (ierhard 

bindings. The sensitive and sober g()(_)d taste Heilmann, who is nothing if not decorative, has 

of the Danes has also shown itself in this done a number of very charming co-\-ers of this 







■RBfW 

~ .^ i 



END I'Ar'EK 

74 



nESICMiD I!V GEKUAKn HEn.MAX.X 




Q 

H 

Q 

Q 
O 

Q 



a 

O 
>< 
J 



Danish Bockbiiidiugs 



kind, one or two additional colours generally sut- 
ficing to ijroduce a capital effect. 

Kund Larsen, one or two ot whose pictures have 
been reproduced in Thk Sriioio, has also designed 
some Very prett\- co\'ers. Both his letters and 
ornamentations are full of style and originality. 

In ever\thing cr)nnected with the outside ot 
books —to say nothing of his exijuisite and mar- 
vellous illustrations, I'rofessor Hans Tegner holds 
an unassailable position. A faultless st\le, often 
coupled with a fme sense of humour and satire, 
has set its hall-mark on all his work, and he is tlie 
author of innumerable ilelightful co\'ers of -^'arious 
kinds. Prof. Tegner has also designed a number of 
the popular cloth and leather bindings, most ot 
which have emanated from the old and well-known 
establishment of Immanuel Petersen. 

Immanuel Petersen has the credit of a luie 
binding of The Coiitcntion bchvcdi tlie hva 
famous Houses of La/ieasfer a /id York, designed 
by Fristrup, under his direction. Another, of a 
totally different stamp, is worth\' of mentit)n ; it is 
a white parchment cover, the whole of which is 
ornamented with branches of laburnum, yellow 
flowers and green clover, and with title in gilt 
letters. 

J. L. Flvge has done much and good work as 
regards artistic and ornamental bindinc; (jf books. 




iiEsic.NFa) i;v c. iikii.m.wx executeh by i. peterse.x: 




riESIl'.XED .-\Mi EXECCTEl' IIV .\XKER KVSTEK 



and he is a true lover of his 
craft. Among other bind- 
ings, a prominent place 
should be given to that of 
Lo Reliufe Fniiicaise, which 
he has himself designed, 
and the whole of the gild- 
ing is done by hand. The 
cut of the leaves is beauti- 
fully done, in very faint 
relief, in gold and ornamen- 
tation in various colours. 

Last, but certainly not 
least, comes Anker Kvster. 
Possessed of originalit\' and 
a considerable in\'ention, 
and with a keen apprecia- 
tion of the eternal fitness 
of things as regards the 
liarmoiiN' whicli should exist 
between the book itself and 
its garb, he has, although 
a young man, already 



76 




DESIGNED BY ERISTRUP 
EXECUTED BY J. J'ETERSEN 



77 



S-cL'ri//s//, Xonocoiai/ and Finnish Bindings 



attracttxl iiuich and flattL-i"ii\n attention. Kxstcr 
prcft-rs to strike out new lines ot^ his own, and 
he has done this in more than one ihrection. 
First and foremost, mention should be made ot his 
hand-made paper, used with jj;reat effect lor the 
outside of tile cover as well as for the inside. These 
pajjcrs are equalh' excellent in design and in 
colour, green, white, blue, \'iolet, yellow, brown, 
pink, etc., lieing blended with the mo.st charming 
effects. 

It goes without sayuig, that numerous exceb 
lent bindings have emanated from K\-ster's work- 
shop from designs bv Bindesl)ol, Tegner, H. N. 
Hansen, Heilniann, and other artists, but K\ster 
himself is an able draughtsman and has de\'ised 
nian\' charming bindings. He is fond of simple 
designs, and of giving to the material what is 
due to it : he often uses lines ^vith much 
efle'Ct, antl for the back generalh' prefers a single 
decoi"ati\'e design of modest dimensions to the 
excessive appHcation of gilt, in which so manv 
binders indulge. The result is, that K\'ster's 
leather bindings, as a rule, [)ossess a simple and 
lestful l)eaut\\ 

GkORC, PjROCHN'KR, 



BOOKBINDING IN SWEDEN, 
NORWAY, AND FINLAND. BV 
SUNNY FRYKHOLM. 

In the rich art-jjroduction of the 
northern countries of earlier date, conspicuously 
in the line of handicraft, the art of bookbinding 
appears ver\- late in comparison with Europe 
generall)-, and Italy and France in particular ; for 
bookbinding is an art wholly influenced by a 
superior culture which could not reach the far 
North till a later period. The influence of the 
highly refined lurstern bookbinding, which reached 
F^urope as earl)' as the thirteenth century, by the 
aid of the Alders of A'enice, and which soon .spread 
to the cultured France of that time, did not reach 
the North before the sixteenth century, and then 
only in a ver)' imperfect state ; and the result of 
this late arrival of the different styles is that no 
strict lines can be drawn between them, such as- 
is the case in countries where one st)ie developed 
after another in due chronological order, ^^'e can 
simply state that in the sixteenth century is first 
traceable in the North any bookbinding which i.s. 
worthy of being called a craft. 















"-r 









t^^ 
- ^ ^('f^?! 



IIESICNKII AMI EXEI. rriCIi V,\ Ci.iC .\l KSS Si'AKKE 



S-7L'r(//s/r XorcL'd^iaii and Fiiniish Bindings 



'What makes the hislur\' eif Swedish bookbinding 
especialh- intcrcsling is tlic fact that the craft in 
many families was inlierited, so that even the 
widows kept up tile business. In the case ot one 
family, which still has members in the craft at 
Stockholm, the ancestor came over to Sweden 
from (lermany about the middle of the seventeenth 
centur)-. 

It is to be regretted that the history of book- 
binding in Sweden has been but scantily dealt with, 
though ] )r. liickhorn, a connoisseur who died 
before he had the opportunity to complete his 
difficult task of collecting the records, has left us 
some very valuable information relative to this 
complicated study. I)r. H. Wieselgren is an inter- 
esting and conscientious guide to the collections 
of the Ro_\'al Library at Stockholm. 

After the continual wars of the beginning of the 
eighteenth century, which entirely impoverished 
the country, the interest for art in general died out 
and was not revived until Queen Louisa Ulrika, the 
learned sister of Frederick the (rreat, once more 
brought uni\"ersal European interests into her new 
country. One of her sons. King Gustavus III., 
carried on the go(jd work, all the fine arts enjoying 
his special favour ; a great literature flourished in 
his time, and bookbinding became once more a 
prominent art. 

Thanks to this influence good work was still pro- 
duced in the earlier part of the present century, 
though the craft had begun to decline. Favour- 







llESIGNEII BY .MISS GISBERG 
80 



able mention, nuist be made of Mr. F. Beck, 
the father of Mr. A'. Jieck, who has done much 
during later \ears to revive good workmanship. 
Although Mr. IJcck always makes use of the 
designs of a very able lady artist, Miss Gisberg, 
his work still bears the stamp of a craft, and not of 
art, a fact which he much regrets himself, as he 
could certainly do better things if he could procure 
the necessary designs. His principal method 
consists in leather embossing, after designs in the 
style of the Renaissance, sometimes too profusely 
mi.xed up with coats-of-arms and emblems. His 
mosaic is much admired by his brother craftsmen, 
although the Austrian style he has adopted, which 
consists in applying the leather for the mosaics 
without stamping it with gold, is opposed to that of 
France: and some find fault with him also because 
he makes use of a brush for his gilding instead of 
burning the gold in with the tools. Mr. Beck's 
work shows that nothing is wanting in Sweden as 
regards skill in technique, but the S\yedish artists 
must learn to take this craft more seriously, 
and the public must be taught to value artistic 
designs. 

In assisting the development of Swedish book- 
binding, Mr. G. Hedberg, of Stockholm, has 
worked wonders during the last few years. 
Brought up among the tools, he had the oppor- 
tunity to go to Paris and study there for four 
years, his great interest in bookbinding having 
aroused the attention of an old lover of books who 
helped him in various 
ways. After these 

years of conscientious 

study he returned to 
his own country, and 
firmly made up his 
mind to try to make 
the public understand 
the great possibilities 
for developing book- 
binding into a fine art. 
^\"ith unfailing power 
over different methods, 
and a rare knowdedge 
regarding historical 
styles, Mr. Hedberg is 
a man in tt\cx\ way fitted 
to succeed in his purpose. 
He realised from the first 
that he needed good ar- 
tistic assistance in order 
to obtain designs worthy 
to be Avorked out by 




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EXECU'I'EI) BY ^'. BEl'K 





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S7i'r(//s//, Xonccgia// and Finnish Bindings 






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EXECU'IKIi BY i;. HEUHERi; 



his exquisite methods, so he appealed to an artist 
whom we have mentioned before, viz., Mr. A. 
LindeL;ren, who is quite as rich in ideas as he 
is skilled as a worker. He has also had some 
ver)- !i;ood designs b)- AFr. ( ;. W'ennerberg, and 
latel\- by Mr. F. Boberg. 

Mr. Hedberg's work became favourably known 
abroad in 1897, when his cover for A7//V' Floras, 
designed by Mr, A. Lindegren, was one of those 
selected at the " International Exhibition of Book- 
binding at ("axton Hill," for the illustrative cata- 
logue, and lately he has hail an offer from an 
English lo\-er of Ijooks to make artistic bindings 
for some ex(|uisite English literary works. 

Although it is generally considered in .Sweden 
that Norway does not possess any artistic book- 
fiinding, the Norwegians themseh'es would fain 
not allow Mr. Refsum and Miss Maria Hansen to 
be forgotten in any general treatise upon book- 
binding in the North, while Mr. (laudernak, the 
skilful artist working for ?ilr. .\ndersen, tfie gold- 



smith of Christiania, has enriched a few Bibles 
with some of his beautiful ornaments in the old 
Scandinavian Romanesque style. 

From Finland nothing else has appeared but the 
admirable designs by Countess Sparre, which arc 
generally worked out by Mr. (\. Hedberg. 

In conclusion, it may be said that if any art is 
ai)t to express the culture of a country it is that of 
l.)ookbinding. In all the other arts we can find 
clever men of different ])eriods who create works 
of imagination which more or less appeal to the 
public, generally by reason of the love of orna- 
ment, which is not necessaril)- an evidence of a 
cultured mind : but in bookbinding the connection 
between the work of art and the owner is more 
intimate and therefore more characteristic. Other 
products of artistic industry are not deemed out of 
l)lace in the possession of anyone having plenty of 
mone_\', luit a librar\- consisting of choice books 
provokes ridicule against an)' owner who does not 
possess the culture the l)ooks assume. 



CO 

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NEWMAN 






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NEWMAN 






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MANUFACTURER 



OF EVERY ARTICLE OF SUPERIOR QUALITY 
FOR THE ARTIST 



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SPECIAL BITUMEN IN OIL. 

THIS BEAUTIFUL AND USEFUL COLOUR CAN NOW BE USED BY 

THE ARTIST WITH PERFECT CONFIDENCE. 

IT HAS BEEN UNDER CONSTANT TRIAL AND ATTENTION 

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WITH MOST SATI SPA( TOriT JtEsri.TS. 

BRILLIANT IN COLOUR-DRIES IN ABOUT 24 TO 36 HOURS. 

DOES NOT CRACK.— "SETS UP" WELL. 

NEVER CHANGES. 

A^RTISTS- OPIXIONS TTJIi MUCH OBLIGE. 

SAMFTES FItEE OK Al'P LICATION. 



VI 

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I 24 SOHO SQUARE, LONDON, W. 



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"DUNVEGAN CASTLE" (skye). 



By 



HAROLD STEWARD RflTHB©NE. 



anb (Romantic 

(poem. 

Quarto: Extensively Illustrated: Printed on Handmade Paper in 
Caxton Old-Face Type : Specially Designed Celtic Borders : Richly 
Decorated Cover. Price £i iis. 6d. Net. 



BERNARD QUARITCH, k, PICCADILLY, LONDON. 



HAMPTOT^ b 507i5 lE p^" ^^" f.^^t' 




Genuine Old Oak Gale-leg Tables, from 42s. od. 



]-J\cr\'one who is Fiirnishinij sl'iuitld iiol fail 1 
ost useful Book from Hampton & Smns, \\ho send it posl free 



IMPORTANT TO THOSE 
ABOUT TO FURNISH. 

"Estimates for furnishing through- 
out, with Specimen Interiors in 
Colour," is the title of the most 
cliarming and practical book on 
furnishing yet published. Tlie series 
of coloured interiors are specially 
interesting and represent the last 
word on the tasteful furnishing of 
ordinary rooms. 
secuie al oiire a ropy of lliis eleyaiit and 



HAMPTON & SONS, Pall Mall East, Trafalgar Square, S.W. 

Carria<''e Paid to any Raihvay Station in the United Ki//gito//i on purchases over 20s. 




Genuine Old Chippendale Chair, 
9s. 6d.; various shapes in stock. 



THE CHAUCER'S 
HEAD LIBRARY. 



THE well-known 
shop for Fine 
and Rare Books. 
Volumes on Topo- 
graphy, The Fine 
Arts,Heraldry,Books 
in Belles Lettres, 
Manuscripts, Book- 
plates, Engravings, 
etc. Beautiful Bind- 
ings a Speciality. 
Catalogues (general 
and special) are 
issued every month, 
free on applica- 
tion. 



WILLIAM DOWNING, 
THE CHAUCER'S HEAD 
LIBRARY, 5, TEMPLE 
ROW, BIRMINGHAM. 




T 



HIS BOOK 

may be taken as a sample of 
Printing executed by . . . 



Bradbury, 

AGNEW & Co., Ld., 



Fine Art and General Printers, 
Stereotypers, Electrotypers, and 
Bookbinders, 10, Bouverie St., 
Whitefriars, London, EX., and 
TheWhitefriars Press, Tonbridge, 
Kent. 



Tele i^'ia ins: 

Charivari, London. 
Charivari, Tonbridge. 



Telephone : 

No. 28 Holborn. 
No. 19 Tonbridge. 



Telephone : 5158 Gerard. 







tejwi Q o i^j ^f..c°- 



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ASSOCIATELj with f.(|>f. 

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down a special plant, and, combined with their 
unrivalled Photogravure process, are now able 
to compete with all the leading Continental 
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Large Plates a Speciality. 






Extensive Branch Works at 
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40 Rue de Paradis, Paris, and 
Miksa Utza, 8 Budapest. 



SSA^D TOT SJJ/TLTS. 

All. X 



/•A'/CT MODETAIT. Q UAIJTY L -XTXCEI.LED. TTOMPT DELI VET \ '. 



OETZMANN & CO., 

62, 64, 67, 69, 71, 73, 75, 77, and 79, 

MAMT>SXEAD ROAD, W. 

{Continuation north of Tottenliam Court Road and near Euslon and Gozuer Street Stations), 

61, GRAFTON STREET, DUBLIN; 75, UNION STREET, HYDE; 

202, RUE ROYALE, and 12, RUE DE LA POMPE, BRUSSELS. 

Useful & Decorative Novelties suitable for Presents 




Set of four Sterling Silver Sh.ai Salt- 
and Spoons, Gilt inside, in handsonit.- 
silk-lioed case, complete, 23/6. Set 
of two do., in case. 12/10. Salt Cellar 
and Spoon, with case. 4/9 each. 



Hlctrantreal-'Do'^'ToU L ult i ^\ a ^ St rl n S 

Fm.- rut ria^^ PnfT Hnv .v^th >iounted Tea Pot. S j,ar L_i n ani Cream E ci 1 1 IR 

1 m^ Cut Gla^s PulT Box with four ,izes. Capacit> f Tea Pot [tS 

.„i.N..i,...H.,-,i,.i .,,,-.,.... Pint .. 8/11 the .et .f , piec. kg ^. ■„__ j .^^ ^^^ ^ ^ 

'! .. 13/11 W ,\ ,. Solid SiWer Richly Pierce■^ & Chased 

17/6 pair Salt Cellars, with g-las.<; linines, 



richly chased solid silver to|: 
ins. high .. .. SAO 

.. 4/11 

6/6 
.. 10/6 
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Hot Water Tug:>> and Coffee Pots to match above ; and Spoons, in case, cowiplete 17/6. 

1 pint, 8/6 ; i\ pints, 10.6 ; - r'i"ts, 12/9 each. Do. Cupid design, large size, 27/6. 



Artistic Electric 

(Registered) 



Waltham's 




BELL PUSHES 



ETC. 



THE 



WALTHAM ^^lS^ll^.% Co. tor MEDICAL ELECTRIC LIGHTING 

FIVE 

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AT 46 York St. Buckingham Gate, 





London, S.W. 



Telegrams: "Switchboard, London. 



{Near Si. James's Park Station.) 





ssmmi 



'H^SKJIOiirdBiilHi 




Embossed Leather. 

JOHN FAZAKERLEY, 

Book-Binder and Pocket-Book Maker, 

40, PARADISE STREET, LIVERPOOL. 

Books Bound and Miscellaneous Articles made up 
in Embossed Leather, Embroidery, &c. 

Leather & Tools supplied for Embossing & Binding. 

Binder to the principal Libraries and Art Classes 
in the Kingdom. 

BOOKBINDING. 



ALBERT EDWARD JAMRACH 

(Late CHARLES JAMRACH), 

NAXORALISX, 

180 ST. GEORGE STREET EAST. 

Established a Century. 



Wild Keasts, Antelopes, Gazelles, Grey Parrots, Cockatoos, 

Macaws, Parrakeets, and other Birds. 

Walerr(j\vl, Reptiles, Hungarian Partridges. 

Also Implements of Savage Warfare, Japanese Curios, 

Nelsukis, China, Pottery Ware, ,S«-ords, 

Horns, Shells, (S:c. 




"THE PAG B."—A Quarterly Publication containing Original Poems, 
Prose, Music, Woodcuts, Portraits, Bookplates, Posters, and other 
curious things, by Walt Whitman, Sir Henry Irving, Sir A C. 
Mackenzie, 5ir E. Burne-Jones, J. Bastien Lepage, James Pryde, 
Charles Conder, Will Rothenstein, Max Beerbohm, Oliver Bath, 
Martin 5haw, Gordon Craig, and others. A very limited number of 
copies printed. Prospectus sent on application. New Specimen 
Copy, 3S. Od. post free. The late Mr. GLEESON WHITE writes of 
"The Page" as "The prettiest and most delightful publication in 
a day of good things." 

PUBLISHED BY GORDON CRAIG AT THE 51QN OF THE ROSE, 
HACKBRIDGE, SURREY, ENGLAND. 




PUBLISHER'S ANNOUNCEMENTS. 

''The Studio" Almanack for 1900 

Will be ready by the end of December. The Design has been 
specially prepared in colours by Mr. Charles Robinson. Price 
gd. each, or post free (in roll) is. 

The New ''Studio" Poster, 

Reproduced in lo colours from the Special Design by Mr. Frank 
Brangwyn, is now ready. Collectors may purchase copies at 
2S. 6d. each, post tree (in roll) 2s. lod. 

^'THE STUDIO" OFFICES, 5, Henrietta Street, Covent Garden, W.C. 



Dr. E. ALBERT & CO., 

Direct Photo-Etchers & Engravers, 

MUNICH, BAVARIA. 

SCHWAB.INGERLANDSTRASSE, No. 8B. 
(please address exactly,) 



Zincotype Blocks 

AT LOWEST TERMS. 

Photogravure Plates 

Eightpence per Square Inch. 

MAXIMUM SIZE, 
2 ft. 8 in. X 3 ft. 6 in. Square, 

Copper-Plate Prints 

ACCORDING TO THE FOLLOWING 
TABLE. 



SIZE OF 
PLATE. 


SIZE OF 

MOUNT. 


PRICE PER PRINT. 


REMARKS. 


WHITE. 


CHINA. 


•5 in. X 7 in. 
7 in. X IO in. 
io in. X 14 in. 
■"14 in. X 19 in. 
18 in. X 35 in. 
31 in. X 38 in. 


7 in. X 10 in. 
10 in. X 14 in. 
14 in. X t9in. 
19 in. X 37 in. 
37 in. X 38 in. 
31 in. X 41 in. 


£ s. d. 
I 

2 
3i 
Si 
10 
1 i 


f. s. d 

00 li 
003 

4i 
007 
I I 
1 5 


The Prices 
include good 
Copper Print 

and 
China Paper, 



SAMPLES ON APPLICATION. 



Permanent Photogfraphs ?^ 




OF THE WORKS OF 



Sir EDWARD BURNE=JONES, Brt. 



Q. F. WATTS, R.A. 



DANTE GABRIEL ROSSETTI. 



HARRY BATES, A.R.A., Homer 

and others. 



HAGUE GALLERY, A Selection from. 
By F. HoLLYER, Jun. 

ALBERT MOORE and other Artists. 



THE STUDIOS.... 

ARE OPEN TO VISITORS 
DAILY 

from lo a.m. to 6 p.m., and on Mondays 
from 10 a.m. to lo p.m. 

PORTRAITS FROM LIFE 

are taken on Mondays only. 
An Appointment is advisable. 



\ 



CAN BE OBTAINED OF 

Fredk. Hollyer, 

9 Pembroke Square, 

Kensington. 



Illustrated Catalogfue, 
Post Free, 12 Stamps. 





(\ it^CTcSgm " TH E VE RA " 

Illustrated and Priced Catalogue for 1899, gratuitous. 

An Original and Artistic Bedroom Suite finished in Fumigated Oak, or Stained Green, Copper Hinges and Fittings, Copper Grille Panels 

to Doors, and comprising 5-ft. Wardrobe, 4-ft. Dressing Table Chest, 4-ft. Washstand with Coloured Marble Top, and Three Rush-seated 

Chairs, £37 10s. Wood Bedstead with Iron Sides, Laths, &c., to match, JB8 10s. 

HEWETSONS, TOTTENHAM COURT ROAD, LONDON, W. 



PRINTED FOR THE PROPRIETOR BY BRADBURY, AGNEW & CO., LTD., LONDON AND TONBRIDGE, AND 
PDBLISHED AT THE OFFICES OF " THE STUDIO," 5 HENRIETTA STREET, COVENT GARDEN, LONDON.